Search

“To picture is not to remember,” as Bergson famously puts it in Matter and Memory (1896), since “the image, pure and simple, will not be referred to the past unless it was indeed in the past that I sought it.” Thus, to make a film about memory, to recount cinematically a story of memory, and finally to imagine in (motion) picture what memory might be, isn’t this a paradoxical or even vain undertaking? Such is, however, precisely the task set about by Bi Gan in Long Day’s Journey into Night (2018): if his first feature-length film, Kaili Blues (2015), revolves already around the question of time by deploying — in its famous 41-minute long take — an “abyss of time” where past, present and future intertwine, then with Long Day’s Journey into Night the director seeks moreover to further his quest for a non-chronological time by transposing it to the terrain of memory in yet another long take — this time running more than an hour and in 3D —, infinitely dilated as if becoming a gigantic dream. In this paper, by crisscrossing my reading of the film with the philosophies of time from Bergson (“cone of memory”) to Deleuze (“crystal-image”), I seek to explore the intricate relationships between, on one hand, time and memory and, on the other, cinema and philosophy, so as finally to ask with Bi Gan: no doubt “to picture is not to remember,” but how are we to remember differently if not by picturing — namely through images?

Die the Long Day narrates the 24 hours following the flight, capture, and brutal murder of Quasheba, a fugitive slave, on an 18th-century Jamaican plantation. Quasheba is remembered, retroactively, for her defiance of, despite ultimate defeat by, both the extreme gendered violence of the plantation and the paternalism of the narrative. The climax of this novel is Quasheba’s funeral, on which her community insists in accordance with their communal, African religious (Myal) rites. In these following pages I will consider how Quasheba’s spirit galvanizes this community as much as it may threaten to destroy it, and how this narrative places Obeah/Myal at the center of spiritual survival in the face of ever-present physical—and social—death during and after slavery, and at the center of strategies for the survival of its aftereffects.

Having come here to advocate the immediate burial of ‘kasuku culture,’ alias, ‘parrot culture,’ I had better initiate the process of grave-digging myself. As an African academician, poet, playwright, artist, cultural worker and activist, I have sought to do this in different ways. One such way has been using my intellectual work to affirm progressive indigenous African paradigms, including orature, which Pio Zirimu and Austin Bukenya once concisely defined as ‘verbal art.’1 I will, therefore, use an African Orature style of delivery to hold this conversation with you. I cannot think of a more appropriate tool of competing with fatigue at the end of a long day, or of keeping a possible dozing audience alive, following such a challenging dinner. My talk, or palaver, will be divided into movements or cycles, labelled palaver one to ten. Inside each of these full stream palavers will be meandering tributaries of smaller, but related palavers. If the meanderings interfere with your focus, therefore, just find ways of tolerating them. For instance, treat them as the musings of an elder-in-the-making, borrowing a leaf from the wazee wakumbuka (elders recollect), an extremely popular kipindi (program) that used to air on Kenya Broadcasting Corporation (KBC) radio network sometime in the 1970s.

AlthoughEugene O’Neill’s Long Day’s Journey into Night may be depressing and emotionally draining, it demonstrates a number of important elements of family relationship theory, including the interactions between siblings, spouses and their lives over time; combined, these interactions draw a picture of the family as the container and sustainer of life. The play advances the theme that, within the context of the family, the ghost of the past plays itself out in the present. The play also demonstrates that families are often centers of conflict and contradiction.

China/France Director BI Gan Runtime 140 minutes

Photoperiodic treatments have been of practical interest in controlling seasonal reproduction in sheep, goats and horses. Melatonin is the principal mediator of the environmental photoperiodic message. To investigate the intra- and inter-subject variability of melatonin 24 h rhythm, ten female Italian Saddle horses (8–10yrs old, mean body weight 525±30 kg), ten female Sarda breed sheep (2–3yrs old, mean body weight 40.5±2.8 kg) and ten female Sarda breed goats (3–4yrs old, mean body weight 38.9±4.1 kg), housed individually in a 4×4 m soundproof box equipped with 50×100 cm opening windows, were subjected to a natural photoperiod of the vernal equinox (sunrise 06:00h; sunset 18:00h). Blood samples were collected from each animal, every 3 h over a 48h period starting at 00:00h of day 1 and ending at 00:00h of day 3. Plasma melatonin concentrations were determined by direct radioimmunoassay (MelatoninDirect RIA, Labor Diagnostika Nord GmbH, Nordhorn, Germany). The application of single cosinor method substantiated a circadian rhythm of melatonin with a nocturnal peak in all studied species. The application of two-way ANOVA on the rhythmic parameters indicated statistically significant differences between the three species in all of the cosinor analysis-derived parameters of MESOR, amplitude, acrophase and robustness of rhythm. Analyses of intra- and inter-subject variability indicate that organization of the melatonin 24h rhythm is characterized by great accuracy of control within and between the individuals of a breed. In conclusion, features of the 24h rhythm of melatonin among species; however, the 24h rhythmicity of melatonin each species showed high stability within the various subjects and within the same subject. These findings must be taken into consideration when applying photoperiod and melatonin treatments for breeding purposes.

The question, what makes a clinician a healer? may evoke the image of a devoted physician paying a critically important home visit at the end of a long day or the image of an astute nurse-steadfast, empathic, anticipating the patient's needs before they become apparent to others. But health care is no longer provided by lone doctors or nurses. In the modern health care system, multiple professionals must work together to provide safe and effective care. The moral nature of healing has not changed. But what is required of clinicians to facilitate healing has. To be a healer today, a clinician must be a good team player. Medical students have opened our eyes to this new reality. Building on their observations, we articulate a view that, over and above the role of teamwork in providing technically appropriate care and preventing errors, health care requires teamwork to promote healing. Being a good team player is now a moral imperative because it makes an essential contribution to healing.

Evidence was gathered from an Australian long day care project ‘Educators of babies and toddlers; developing a culture of critical reflection’. A cultural–historical theoretical approach was sensitively interwoven with visual methodology. The innovative combination of visual methodology and cultural–historical theory involved the creation of three Collaborative Forums. The Collaborative Forums aimed for participants to collectively unravel their pedagogical knowledge. The visual methodology involved research tools such as video observations, images, collaborative drawings and group interview transcripts. The research tools of mapping promises and collaborative drawing provided opportunity to imagine and map educators’ pedagogical practices. The act of collaborative drawing was an improvised and imagined activity that strengthened understanding of the multiplicity of educators’ promises. The collaborative drawing elicited discussion that created an expansive collective agenda. Collaborative drawing offered an innovative research tool with ongoing capacity to generate expertise for imagining ideal practices for infant–toddler research. The findings suggest that collaborative drawing with educators is a creative and imaginative tool for expanding the infant–toddler research agenda.

The aim of this chapter is to explore affective pedagogy that unfolds during a mealtime activity setting in a long day care (LDC) centre. Mealtimes are an important activity setting in early childhood education and care and they offer opportunities for educator’s development of affective relationships with infant-toddlers. Findings indicate that educators’ create an affective atmosphere within the flow of time and space of the mealtime activity. Often overlooked, flow and time, are also important components of educators’ affective relationships. Pedagogical strategies such as affective dialogues and encouragement involve educator’s guiding, modelling and encouraging toddlers to taste new foods and helping with cleaning tasks. Mealtimes provide a social environment for affective relationships and connections to be fostered.

The present paper is an attempt to study the female quest for freedom in Eugene O’Neill’s Long Day’s Journey into Night from a French feminist perspective. Indeed, Mary Tyrone resorts to body language as a form of resistance against gender and cultural confinement. French feminism will be deployed to understand female non-verbal subversive strategies. Luce Irigaray argues that language is male-dominated and male discourse misrepresents women. Accordingly, body language can be interpreted as a silent form of female resistance against patriarchal hegemony. It is the case of Mary who is irritated because of the male gaze and she uses madness as a silent language of resistance against female and ethnic stereotypes. Mary is a rebellious woman who defies her three men for being indifferent about her dilemma of disillusionment with the institution of marriage. She is treated as a wife, a mother or a daughter and she is often assigned the role of ‘the Angel in the House.’ French feminism will be used to understand the way O’Neill reshapes female identity and he calls for not linking female identity to the social roles. The aim is to study the non-verbal communication, the behavioural, kinetic, gestural and psychological profile of Mary. The paper will also focus on the hardships Mary faces and the ways she reconstructs female identity. The paper draws on the French feminist arguments about female madness as a form of resistance and it criticizes the conventional claim about madness as s form of weakness.

Tarih boyunca toplumsal cinsiyet rollerine karşı çıkan kadınlar ataerkil toplum tarafından çoğunlukla histerik, deli ya da tehlikeli olarak addedilmişlerdir. Kadınları delilikle bağdaştıran ve süregelen bu eğilim tiyatroda da yankı bulmuştur. Bu açıdan, bu çalışma Eupides’in Medea, Henrik İbsen’in Hedda Gabler ve Eugene O’Neill’in Günden Geceye adlı eserlerinde dayatılan normallik sınırlarını aşan aykırı kadınların resmedilişini inceleyecektir. Ekonomik olarak eşlerine bağımlı ve toplumsal beklentiler karşısında huzursuz hisseden Medea, Hedda ve Mary ataerkilliğe karşı koyuşlarıyla deliliğin sınırlarına itilen farklı dönemlerin trajik kadın kahramanlardır. Tutkularını ve görece özgürlüklerini feda ettikten sonra, bu alışılmadık kadın başkahramanlar dikte edilen toplumsal cinsiyet rollerini ve annelik imgesini reddedişlerinde buluşurlar ki bu karşı duruş Medea’nın öz oğullarını öldürmesine ve Hedda’nın hayatına son vermesine sebep olurken Mary’e gerçekle bağlantısını morfinle kesmekten başka çıkar yol bırakmaz., Throughout the history, women challenging their gender roles have mostly been labelled as hysterical, mad or dangerous by the patriarchal society. This long-seated tendency to associate women with insanity has also been echoed in drama. In that regard, this paper will explore the representation of nonconformist women who transgress the boundaries of imposed normality in Euripides’s Medea, Henric Ibsen’s Hedda Gabler and Eugene O’Neill’s Long Day’s Journey into Night. Financially dependent and restless with societal expectations, Medea, Hedda and Mary are tragic heroines of different eras resisting patriarchy that finally bring them on the verge of madness. After having sacrificed their aspirations or relative freedom for their marriages, those atypical female protagonists meet on a common ground in their repudiation of the dictated gender roles and motherhood image, which leads Medea to murder her own sons and Hedda to end her life while leaving Mary no choice than cutting off from reality through morphine.

Children's language experiences in the first two years of life are inextricably connected with their current and future language and literacy development. Research has shown that mother–child shared reading of picture books is a practice that can promote this development. Little is known, however, about the shared reading experiences of infants attending early childhood education and care centres. This naturalistic study analysed the reading experiences of 10 infants observed during a three-hour period as they and their educators went about their typical activities in their early childhood education and care centres. Drawing on Halliday's systemic functional linguistic theory, which proposes a non-arbitrary relationship between language use and features of the material setting, this study analysed two aspects of the infants' shared reading experiences: the tenor (roles and relationships) realised in the educators' use of speech function, and the field (the topic or subject matter) realised in the vocabulary used. The manner in which these contextual variables are realised in the adult–child talk during shared reading affects the pedagogical potential of this practice. The findings reveal that the infants had little opportunity to initiate or participate in book-focused interactions with their educators, with implications for their language and literacy learning opportunities.

Under natural short days, growers can use photoperiodic lighting to promote flowering of long-day plants and inhibit flowering of short-day plants. Unlike traditional lamps used for photoperiodic lighting, low-intensity light-emitting diode (LED) lamps allow for a wide array of adjustable spectral distributions relevant to regulation of flowering, including red (R) and white (W) radiation with or without far-red (FR) radiation. Our objective was to quantify how day-extension (DE) photoperiodic lighting from two commercially available low-intensity LED lamps emitting R + W or R + W + FR radiation interacted with daily light integral (DLI) to influence stem elongation and flowering of several ornamental species. Long-day plants [petunia (Petunia ×hybrida Vilm.-Andr. ‘Dreams Midnight’) and snapdragon (Antirrhinum majus L. ‘Oh Snap Pink’)], short-day plants [african marigold (Tagetes erecta L. ‘Moonsong Deep Orange’) and potted sunflower (Helianthus annuus L. ‘Pacino Gold’)], and day-neutral plants [pansy (Viola ×wittrockiana Gams. ‘Matrix Yellow’) and zinnia (Zinnia elegans Jacq. ‘Magellan Cherry’)] were grown at 20/18 °C day/night air temperatures and under low (6–9 mol·m−2·d−1) or high (16–19 mol·m−2·d−1) seasonal photosynthetic DLIs from ambient solar radiation combined with supplemental high-pressure sodium lighting and DE LED lighting. Photoperiods consisted of a truncated 9-hour day (0800–1700 hr) with additional 1-hour (1700–1800 hr, 10 hours total), 4-hour (1700–2100 hr, 13 hours total), or 7-hour (1700–2400 hr, 16 hours total) R + W or R + W + FR LED lighting at 2 μmol·m−2·s−1. Days to visible bud, plant height at first open flower, and time to first open flower (TTF) of each species were influenced by DLI, lamp type, and photoperiod though to different magnitudes. For example, plant height of african marigold and potted sunflower at first open flower was greatest under R + W + FR lamps, high DLIs, and 16-hour photoperiods. Petunia grown under R + W lamps, high DLI, and 10- and 13-hour photoperiods were the most compact. For all species, TTF was generally reduced under high DLIs. For example, regardless of the lamp type, flowering of african marigold occurred fastest under a high DLI and 10-hour photoperiod. Flowering of petunia and snapdragon occurred fastest under a high DLI, R + W + FR lamps, and a 16-hour photoperiod. However, only under high DLIs, R + W or R + W + FR lamps were equally effective at promoting flowering when used to provide DE lighting. Our data suggest that under low DLIs, flowering of long-day plants (petunia and snapdragon) occurs more rapidly under lamps providing R + W + FR, whereas under high DLIs, flowering is promoted similarly under either R + W or R + W + FR lamps.

Welcome back budding hero! Looks like you’ve had a long day of homework, chores, and, of course, fighting crime. Now all that is left to do is eat your vegetables, put away your dishes, and for the love of God man, brush those teeth!

Superheroes wear masks to hide their secret identities. When Batman gets back to the Batcave after a long day of fighting crime, he takes off his mask to reveal that he’s actually been Bruce Wayne ...

Late into my eight and a half hour shift as a hospital chaplain, the paper tally I keep in my breast pocket says that I have had only fifteen visits today. My goal is nineteen, given the pressure from administration to boost our office's coverage and increase the number of electronic forms we log into the interdisciplinary chart. The next visit initially appears to be a quick one. A middle-aged woman in a hospital gown greets me cautiously as I knock and enter. Perhaps because the patient is intuiting my fatigue or is just too tired to talk, she responds to my questions with one word answers: She feels “fine”; her stay has been “good”; she feels “ready” to leave to hospital “soon.” At the end of a long day, with a few more to go, I feel this visit going nowhere beyond these surface-level greetings, and I am ready to leave a few minutes into the conversation. I ask the patient if she would like prayer. She nods but does not voice any immediate concerns, so I pray for God's accompanying and loving presence ...

My 9-year-old daughter woke up the morning after a long day of gymnastics training and complained that her muscle hurts. ‘I need a pill to stop the pain, NOW daddy’. Right, how do I deal with this one? Should I break out the pain education metaphors? Or give her a massage? Go for some contrast baths? I decided that the appropriate referral was a joint trip to the bakery. Over Finnish Pulla (cardamom sweet bread), we discussed that she had delayed-onset muscle soreness (DOMS), which is transient and not dangerous. During our cake-fuelled discussion, my daughter told me she had linked the use of ibuprofen for reducing a fever with helping her through the discomfort of well-earned DOMS. Rather than ‘endure’ the discomfort, she wanted a quick solution. If my 9-year-old daughter can make that connection, it is not difficult for others. Unfortunately, there is still excessive prophylactic use of prescribed …

Van Hove, virtuoso / David Willinger -- From Mourning becomes electra to Long day's journey into night : Ivo van Hove directs Eugene O'Neill / Johan Callens -- Ivo van Hove's cinema onstage : reconstructing the creative process / Serge Goriely -- Love still is love even when it lacks harmony : Antigone and the attempt to humanize tragedy / Charlotte Gruber -- Reality overtakes myth : Ivo van Hove stages Der ring des nibelungen / Francis Maes -- Kings of war or the play of power / Johan Thielemans.

This poem was written after a long day at the 2019 Venice Biennale. It is from a body of work—spanning research, writing, and performance—dedicated to Theresa Hak Kyung Cha. Cha's seminal autoethnography Dictée has been readily mobilized by the disciplinary demands of both Asian American and literary studies, becoming the beloved exception reifying the rule of the false (and racialized, and gendered) binary between expressivity and innovation. Meanwhile, Cha's visual, video, and performance work has remained relatively obscure. My project for Theresa wants to un-discipline her archive while interrogating my own marking as a “Korean” “American” artist. In order to write this introduction, I had to go into the rain in all white, to move through silence with a hand to my mouth. In addressing these texts and rituals to Theresa, I seek to acknowledge the exchange we make in communing with the lost.

After a long day in theatre many of us dream of escaping to a warm climate for a relaxing holiday, but did you know that the anaesthetic machine you have been using all day and the Caribbean have m...

The characters in O'Neill's late plays, especially in Long Day's Journey Into Night, fail to forgive each other for a variety of reasons, which can be elucidated by examining failures at forgiveness in the works of Samuel Beckett and Arthur Miller. The framework for the discussion of forgiveness here, including the difference between forgiveness and reconciliation, is provided by insights into ethics and philosophy of mind from Bernhard Schlink, William James, Stanley Cavell, Daniel Kahneman, and Jonathan Haidt. Ultimately, O'Neill's characters' failure to forgive is attributed to a kind of narcissism, and narcissism is explored as an underlying theme in the plays O'Neill wrote at Tao House in the late 1930s and early 1940s.

Daytime sleep is a significant part of the daily routine for children attending early childhood education and care (ECEC) services in Australia and many other countries. The practice of sleep-time can account for a substantial portion of the day in ECEC and often involves a mandated sleep/rest period for all children, including older preschool-aged children. Yet, there is evidence that children have a reduced need for daytime sleep as they approach school entry age and that continuation of mandated sleep-time in ECEC for preschool-aged children may have a negative impact on their health, development, learning and well-being. Mandated sleep-time practices also go against current quality expectations for services to support children’s agency and autonomy in ECEC. This study documents children’s reports of their experiences of sleep-time in ECEC. Semi-structured interviews were conducted with 54 preschool-aged children (44–63 months) across four long day ECEC services that employed a range of sleep-time practices. Findings provide a snapshot of children’s views and experiences of sleep-time and perceptions of autonomy-supportive practices. These provide a unique platform to support critical reflection on sleep-time policies and practices, with a view to continuous quality improvement in ECEC. This study forms part of a programme of work from the Sleep in Early Childhood research group. Our work examines sleep practices in ECEC, the subsequent staff, parent and child experiences and impacts on family and child learning and development outcomes.

This paper considers some of the processes through which Eugene O'Neill (1888-1953) dramatically shaped his inner life and through which he created his plays. These processes at their finest are evident in his composition of Long Day's Journey into Night (1941a). During its 21-month composition, the play went through three different versions, as evidenced by the playwright's handwritten and typed materials (O'Neill, unpublished, a, b, c, d). This paper posits that each version reflects O'Neill's changing state of mind as he began to master his instinctual life, developing increasingly rich characters and creating a painful, deeply tragic vision. Thus, this paper shows that O'Neill's great artistic achievement reflected a great psychological one.

My practice as a teacher and artist/academic in early childhood education has always attended to children and materials. Fragments I gathered from and with Child Art (Viola, 1942) have circled back (Burke, Lasczik Cutcher, Peterken & Potts, 2017) and have me contemplating the images and quilt made with young children aged one to five years in their long day care setting (Peterken, 2009, unpublished honours dissertation). Digital photographs produced by children to show ‘what is important’ are pieces of their lives and learning. These images transferred to fabric and made into a quilt, a community artwork, are becoming more than product or process. They are provocations for thinking with materials and the learning, play and worlds of young children. Fragments to consider, as suggested by Christina MacRae (2012), how the encounter was productive., Minha prática como professora e artista/ professora na educação infantil sempre atendeu as crianças e os materiais e processos disponíveis para a aprendizagem. A abordagem pedagógica nesta pesquisa com crianças muito novas centra-se em seus interesses e perspectivas. Estou me perguntando sobre o que eu/nós podemos fazer e como eu/nós podemos ensinar (Lenz Taguchi, 2010) com arte na educação infantil. Reuni fragmentos da ChildArt (Viola, 1942; Peterken, 2015, dissertação de doutorado não publicada) para pensar sobre a prática da primeira infância fecharam um ciclo (Burke, LasczikCutcher, Peterken&Potts, 2017). As imagens e obras de arte encontradas no meu trabalho de doutorado fazem com que eu volte a contemplar as imagens e colchas feitas anteriormente com crianças de 1 a 5 anos em sua sala de atendimento (Peterken, 2009, dissertação de lendas inéditas) para considerar como os momentos de produção são produtivos .

This chapter examines the knowledge of sports coaches from a variety of sports on the theory and practical applications of recovery techniques. The majority of coaches were of the opinion that recovery was only necessary after hard training or competition and the overwhelming feeling was that sports coaches were able to accurately gauge the recovery necessary. The novice and developmental coaches, not surprisingly, all rated injury, physical recovery, and fatigue as very important for recovery. The inclusion of massage at the stage may be misleading, as customarily massage treatment is available at swimming competitions, ostensibly to enhance recovery between events during a long day of racing. As a result, the swimming coaches were all very enthusiastic about the use of massage as a recovery, a developmental swimming coach stating. The swimming coaches, on the other hand, mentioned several relaxation techniques that they considered assisted with the recovery process, for example, meditation, centring and progressive muscular relaxation.

Long-day photoperiods are considered as an effective managerial tool in manipulating of reproduction and somatic growth in a number of fish species. In this study, the effects of three different artificial photoperiods on the gonadal development and somatic growth of rainbow trout (Oncorhynchus mykiss L.) were investigated. Two years-old immature female rainbow trout (279.94 �

This study aimed to examine mother-child dyads’ unshared memory conversations in relation to mothers’ self-construals and romantic attachment styles in Turkish cultural context. Conversations of 32 mothers and their four-year-old children were recorded from the time mothers picked their children up from daycare until they reached their homes. Children were unaware of the study/recording and mothers were wearing a pendant attached to a digital voice recorder. All transcriptions were screened both for unshared and shared past references, and only past references were coded for elaborativeness and repetitiveness. All coded utterances of unshared and shared past were divided by the total amount of time of the conversation in order to equalize the variance. Findings revealed that mothers who had a more individuated self-construal and avoidant attachment style, who were older, and whose children were also older, were more elaborative in unshared past references; yet there were no significant results on maternal elaborativeness in shared past references, or on maternal repetitiveness at all. When unshared and shared past references were collapsed, same set of results were revealed, except for the child’s age. Furthermore, older mothers with more related self-construals used more maternal repetitiveness in these collapsed past references. The current study revealed that maternal self-construals and avoidance predicted maternal elaborativeness in unshared past conversations at the time of the reunion after a long day. The current study also allowed an important extension of research on mother-child memory conversations beyond Western families. Finally, controversial findings on avoidance were considered to shed light on the cultural dimensions of attachment theory.

Have you ever wondered about what food groups are best, or what portions are proper for you? Have you been concerned about staying energized throughout a long day of dancing? Have you thought about...

This paper presents a Lacanian reading of Eugene O’Neill’s Long Day’s Journey into Night (1941) by drawing on the psychic orders the well-known French psychoanalyst Jacques Lacan has propounded. He holds that human psyche is formed of three orders (the Imaginary, the Symbolic and the Real ) which mold the unconscious mind and motivate human actions and reactions. He also argues that the Other has an immense impact on the formation of psychic orders, especially the Symbolic , and hence on one’s identity. The present article attempts to investigate the three orders of the characters O’Neill has portrayed in Long Day’s Journey into Night , besides the role of the Other in the formation of those orders. The reactions of these characters to the outside world are regarded here as the outer presentation of their troubled mind. It is also discussed that the mental and physical problems and disorders of these characters, such as their addiction to alcohol and drugs, are the outcome of their repressed desires which have remained unfulfilled because of the rules defined and imposed on them by the Other – hence the frustrating sense of lack observed in all four characters.

In the present study, the continuous application of an artificial long-day photoperiod to induce a refractory state affecting the recovery of post-partum ovulatory activity in subtropical Creole does kidding in autumn, was investigated. For this purpose, a group of does was kept under a natural photoperiod from parturition up to 158 days of lactation (control group: n = 16). The other group was subjected to an artificial long-day photoperiod (16 h light:8 h darkness; treated group: n = 16) from day 10 to 158 of lactation. For the first 96 days postpartum, all does from both the control and treatment groups did not show ovulation. However, from day 108 to 156 post-partum, the proportion of does that exhibited ovulation was greater ( P P P > 0.05). It could be concluded that, for subtropical lactating does that gave birth in autumn, continuous exposure to an artificial long-day photoperiod induces post-partum ovulatory activity after 150 days of exposure. This behaviour is probably attributable to the induction of a refractory state of the ovary, following continuous exposure to the artificial long days. Furthermore, this photoperiod treatment also increased the milk production level in goats at 60 and 90 days of lactation.

Estrous behavior in response to ambient and long-day photoperiods was evaluated in ewes developed by 10 years of selection for ability to lamb in autumn. Following October lambing, 67 ewes were moved indoors and exposed to long-day (16L:8D) or ambient photoperiods from February 2 until July 6. Two vasectomized rams with marking harnesses were housed with each group. Estrous behavior was monitored twice weekly. Ewes from the selection line were unresponsive to long days, with no effects on estrous behavior, frequency of ovulation, or circulating prolactin. Adult ewes were anestrus for only 34±3d, but 2- and 3-years-old ewes were anestrus for 72±7 and 57±10d, respectively. Frequencies of ovulation based on circulating progesterone concentrations in March, May, and June were 97%, 95% and 52%, respectively, indicating that many ewes that did not exhibit estrus still ovulated. Prolactin concentrations increased from 10ng/ml in February to 27ng/ml in March and 173ng/ml in June but were not affected by light treatment. Ten ewes that failed to exhibit estrus behavior for at most 24d during the main study were then monitored for 74 additional long days. Nine of 10 ewes did not exhibit estrus for periods similar to 1 or 2 estrus cycles during this period, but eight ewes re-initiated cycles by the end of the study on September 18. Selection for ability to lamb in autumn thus resulted in ewes with an abbreviated seasonal anestrus and reduced sensitivity to long days.

Increasingly, undergraduate and graduate programs in medical humanities are exploring the ability of the arts to elucidate the human condition as it relates to patient care. At the University of California, Davis, students and faculty from both the Department of Medicine and English Literature have convened for informal readings of scenes from dramatic works. This paper discusses the use of excerpts from Eugene O’Neill’s Long Day’s Journey into Night and Berry Barta’s Journey into That Good Night in a medical education setting. Medical students participated in staged readings of these plays, which were filmed and then screened for a group of 30 medical students in order to elicit discussion. Topics included how individuals deal with illness differently and how prospective physicians could address similar clinical scenarios. Medical students contributed to a fluid, evolving project in which they oftentimes struggled to play a character but appreciated the opportunity to do so and to observe their peers in a similar fashion. Future plans for the project include further staged readings and presentations to larger groups of students with the intent of incorporating these activities into the medical school curriculum.

In the 1980s, Swedish playwright Lars Norén wrote three apparently realistic autobiographical plays inspired by O'Neill's Long Day's Journey into Night: Night Is Mother of the Day (1982), Chaos Is Neighbour of God (1983), and Silence (1986). This article focuses mainly on Silence (1986), offering a thematic analysis of the play and discussing the influence of August Strindberg and Eugene O'Neill on its dialogue structure.

As it so often does in Cape Town, the weather had suddenly changed. The sea was rough and the last ferry of the day back to the mainland was cancelled. I’d known it might be a long day on the islan...

When Lev Dodin and the Maly Drama Theatre travelled to Britain in 1988, performing Stars in the Morning Sky at the London International Festival of Theatre (LIFT), it was their first tour abroad. Since then, this repertory ensemble has had an enormous impact on audiences across the world because of its powerful artistry, sustained by the unique training methods, emotional and philosophical as much as technical, developed by Dodin and his collaborators. This article is an account of the three productions directed by Dodin since King Lear (St Petersburg, March 2006, and performed at the Barbican in London in October that year). They are Life and Fate (2007) after the novel by Vasily Grossman, Long Day's Journey into Night (2008) by Eugene O'Neill, and Shakespeare's Love's Labour's Lost (2008, its premiere in April preceding that of Long Day's Journey in December). Maria Shevtsova is Professor of Drama and Theatre Arts at Goldsmiths, University of London, and Co-Editor of New Theatre Quarterly.

This article aims at rethinking how novels represented by battlefield scenes and published in the 1960s are important linking works between “novels of postwar” and “novels of division” in the history of modern Korean novels. The three novels, Long day’s Journey into Night by Kang Yong-jun, The Revolution at Bangat-gol by Oh Yu-Gueon, and Market and Battlefield by Park Kyung-ri, have been relatively neglected in the history of modern Korean novels although the literary acceptance of war experiences has been understood as an important research theme. Writers in the 1950s showed a sense of doubt, defiance, and despair in “novels of postwar,” which reflected the fact that they could not be relieved of their war experience oppression. In “novels of division” writers in the 1970-80s presented the present lives of the nation after the war and attempted to deal with the sharp contradiction of a divided nation. In concretizing war experiences, novels published in the 1960s used battlefields for fictional time-space in an attempt to gain distance from the trauma of war. Namely, it gained the distance to see the historical war as fictional material as well as began to understand what the war was and why it had happened, resulting in full-scale scenes of the battlefields being fictionalized in a long story form in the 1960s. Most Koreans experienced that they could make new historical situations during the April Revolution (4.19 Revolution) of 1960. Having escaped from the feeling of being victimized by the war, the novels seriously began with a reasonable understanding of the war in the 1960s. It should be considered that these novels concretized battlefields of the war are important linking works between “novels of postwar” and “novels of division” beyond the division era in the history of modern Korean novels.

Two nearly utopian moments mark the heart of the films La Promesse (1996) and Rosetta (1999), written and directed by Luc and JeanPierre Dardenne. In the first, we find Rosetta at the end of a very long day. She has a made a friend, Riquet, and through that friendship found an off-the-books job at a waffle maker, escaped her alcoholic and sexually profligate mother, and, with Riquet, spent the evening imitating what it might be like sometime to have fun with a friend or in a couple. She is awkward at this thing called relaxing, but she is game; she’ll take the risk of submitting to someone else’s pleasure economy in order to get that thing she wants, whose qualities she describes as she goes to sleep: “Your name is Rosetta. My name is Rosetta. You found a job. I found a job. You have a friend. I’ve got a friend. You have a normal life. I have a normal life. You won’t fall through the cracks. I won’t fall through the cracks. Good night. Good night.” Many reviews of Rosetta call this catechistic quasi-prayer the film’s most heartbreaking moment: for Rosetta, all the world of possible desires has been paired down to a friend and a job, a state of attaining some bare minimum of social recognition. Moreover, this is an episode of intimacy, belonging, and sociability that, ultimately, Rosetta can have only with herself, in a private, hoarded space that’s usually occupied by the pain of her ulcer, a condition of attrition that the film suggests is a symbol and consequence of the intensity of aching life-making activity