ENDO Podcast – Good Morning Endoscopy!

Endo-Praxis ◽  
2021 ◽  
Vol 37 (04) ◽  
pp. 175-175
Keyword(s):  
Author(s):  
Vike Martina Plock

By looking at Jean Rhys’s ‘Left Bank’ fiction (Quartet, After Leaving Mr Mackenzie, Good Morning, Midnight, ‘Illusion’, ‘Mannequin’), this chapter investigates how new operational procedures such as Fordism and Taylorism, which were introduced into the French couture industry at the beginning of the twentieth century, affected constructions of modern femininity. Increasingly standardized images of feminine types were produced by Paris couturiers while the new look of the Flapper seemingly advertised women’s expanding social, political and professional mobility. Rhys, this chapter argues, noted fashion’s ability to provide resources for creative image construction but she simultaneously expressed criticism of its tendency to standardize female costumes and behaviour. Ultimately, Rhys demonstrates in her fiction that the radically modern couture of the early twentieth century was by no means the maker of social change and women’s political modernity. To offset the increased standardization of female images that she witnessed around her, Rhys created heroines and texts that relied on an overt display on difference.  


2021 ◽  
Author(s):  
Dan Howitt

Tito Mukhopadhyay is a profoundly autistic man whose mother, Soma Mukhopadhyay, since he was 11 years old in 2000, to the present, has presented him on the television programs BBC, CNN, PBS, Closer To Truth, and Good Morning America, and via other forms of media and literature, as being able to write-communicate and type-communicate not only normally, but at an advanced level, and on his own accord – that is, from an independent content of his mind – with the assistance of the Facilitated Communication method that she treats him with, which she refers to as the “Rapid Prompting Method”. In this article, I provide the intricate visual, auditory, and behavioral observations of the interactions of Tito Mukhopadhyay and Soma Mukhopadhyay that were overlooked, since 2000, by innumerable millions of people, including the large array of scientists and physicians who studied them. I concurrently adduce various novel concepts in order to characterize my observations. My observational analyses, and concurrent conceptualization, demonstrate the presence of what I refer to as “Factitious Heroism By Proxy”, and Factitious Heroism. I demonstrate that Soma Mukhopadhyay engages in a multitude of variations of novel, highly surreptitious, multifaceted Facilitated Communication fraud with Tito, which I refer to as “Factious Heroism By Proxy”, which is a novel conception, and novel diagnostic category, that I have formulated. “Factious Heroism” is discussed by Dr. Marc Feldman. Soma concurrently engages in Factitious Heroism with regard to how she publicly presents herself.


1943 ◽  
Vol 126 (3) ◽  
pp. 90-90 ◽  
Author(s):  
Ruth C. Frey
Keyword(s):  

2018 ◽  
Vol 47 (1) ◽  
pp. 203-215
Author(s):  
William A. Cohen

Vanity Fair (1848) famously opens with a departure. As Becky Sharpe flounces off from Miss Pinkerton's academy, she takes leave of her patron by telling her “in a very unconcerned manner … and with a perfect accent, ‘Mademoiselle, je viens vous faire mes adieux.’” Miss Pinkerton, we learn, “did not understand French, she only directed those who did: but biting her lips and throwing up her venerable and Roman-nosed head … said, ‘Miss Sharp, I wish you a good morning’” (7). This performance of befuddlement on the part of a respectable schoolmistress bespeaks a whole collection of Victorian cultural norms about language competence in general and about the French language in particular. Even though the action is set in a period when Becky's speaking “French with purity and a Parisian accent … [was] rather a rare accomplishment” (11), the novel was written for a mid-nineteenth-century audience that could mainly count on middle-class young ladies to have acquired this degree of refinement—or at least to aspire to do so.


1942 ◽  
Vol 125 (7) ◽  
pp. 228-228
Author(s):  
Ruth C. Frey
Keyword(s):  

1927 ◽  
Vol 105 (20) ◽  
pp. 540-540
Author(s):  
Hazel L. Maxefield
Keyword(s):  

1943 ◽  
Vol 126 (1) ◽  
pp. 21-21
Author(s):  
Ruth C. Frey
Keyword(s):  

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