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Dogs are as ubiquitous in American culture as white picket fences and apple pie, embracing all the meanings of wholesome domestic life—family, fidelity, comfort, protection, nurturance, and love—as well as symbolizing some of the less palatable connotations of home and family, including domination, subservience, and violence. In Picturing Dogs, Seeing Ourselves, Ann-Janine Morey presents a collection of antique photographs of dogs and their owners in order to investigate the meanings associated with the canine body. Included are reproductions of 115 postcards, cabinet cards, and cartes de visite that feature dogs in family and childhood snapshots, images of hunting, posed studio portraits, and many other settings between 1860 and 1950. These photographs offer poignant testimony to the American romance with dogs and show how the dog has become part of cultural expressions of race, class, and gender. Animal studies scholars have long argued that our representation of animals in print and in the visual arts has a profound connection to our lived cultural identity. Other books have documented the depiction of dogs in art and photography, but few have reached beyond the subject's obvious appeal. Picturing Dogs, Seeing Ourselves draws on animal, visual, and literary studies to present an original and richly contextualized visual history of the relationship between Americans and their dogs. Though the personal stories behind these everyday photographs may be lost to us, their cultural significance is not.

Approximately 98% of patients with multiple endocrine neoplasia type 2A (MEN 2A) have an identifiable RET mutation. Prophylactic or early total thyroidectomy or pheochromocytoma/parathyroid removal in patients can be preventative or curative and has become standard management. The general strategy for RET screening on family members at risk is to sequence the most commonly affected exons and, if negative, to extend sequencing to additional exons. However, different families with MEN 2A due to the same RET mutation often have significant variability in the clinical exhibition of disease and aggressiveness of the MTC, which implies additional genetic loci exsit beyond RET coding region. Whole genome sequencing (WGS) greatly expands the breadth of screening from genes associated with a particular disease to the whole genome and, potentially, all the information that the genome contains about diseases or traits. This is presumably due to additive effect of disease modifying factors. In this study, we performed WGS on a typical Chinese MEN 2A proband and identified the pathogenic RET p.C634R mutation. We also identified several neutral variants within RET and pheochromocytoma-related genes. Moreover, we found several interesting structural variants including genetic deletions ( RSPO1 , OVCH2 and AP3S1 , etc.) and fusion transcripts ( FSIP1 - BAZ2A , etc.).

This article demonstrates that theatrical representations of crises in family life, which have been produced in the Religious Zionist (RZ) community in the past few years, reflect a complicated, crisis-ridden reality that many of its members wish to address publicly. The image of Orthodox family life as sacred and harmonious has been carefully cultivated by rabbis and educators, yet the upsurge of plays portraying crises in Orthodox families proves otherwise. Theater, as a space where social dramas are presented, has become one of the facilitating tools of Western, secular society adopted by members of this community to allow for open discourse on previously silenced social problems. A recurring theme in the article is how Orthodox individuals seeking autonomy within the framework of family life engage in acts of individualized religious practices, often with only partial success.

The massacre of Jews at Simferopol in 1941, and the explicit participation of Military Police Unit 683, were documented in the travelling exhibition \"Vernichtungskrieg: Verbrechen der Wehrmacht, 1941-1944.\"5 This exhibition, which was shown in German and Austrian cities between 1995 and 1999 and became known as the \"Wehrmachtsausstellung,\" displayed evidence indicating that not only the SS, but also the Wehrmacht had assisted in mass executions and other atrocities on the eastern front. In this environment, the usual military goals of defeating an enemy army and gaining territory did not apply. Instead, as the catalogue states, \"the war [on the eastern front] was part of a plan to exterminate part of the enemy population (the Jews as well as Communist Partisans) and enslave part of the remaining population.\"6 In this war of annihilation, the atrocities carried out on the eastern front were not exceptions, but rather part of the rules of engagement. This exhibition was controversial, because the legend of the \"unsullied Wehrmacht\" had been an integral element in postwar Germany's strategy of coping with the aftermath of the war. In 1992, three years before the opening of the Wehrmachtsausstellung, [Christopher R. Browning] published a vivid account of how \"ordinary men\" of Reserve Police Battalion 101 from Hamburg were easily incited to commit mass murder of unarmed, civilian Polish Jews, only to return to their \"normal\" lives afterwards.7 Given that upwards of 20 million men had served in the Wehrmacht or police units during the war, many of them on the eastern front, suddenly, in the 1990s, practically the entire German population was impelled to consider the unsettling possibility that their own grandfathers, fathers, uncles, husbands, or brothers, whom they had viewed as ordinary soldiers in an honorable army, might have participated in atrocities and genocide. [Boris von Haken] responded to his critics, again in Die Zeit, in January 2010. Since perpetrators of military atrocities operate as a collective, it is almost impossible, he admitted, to prove or disprove the guilt of a single individual. Yet the legal maxim of in dubio pro reo (\"when in doubt, for the accused\") is useless for assessing the historical events themselves. Based on the statements of witnesses taken during an Ermittlungsverfahren (preliminary investigation) against the Feldgendarmerie 683 in Munich in 1964, von Haken cited evidence that Eggebrecht's specific unit (Second Company, Third Platoon) did take part in the massacre. There are no documents indicating that Eggebrecht was in the hospital (Lazarett) at that time, nor were there any instances of refusal to obey orders (Befehlsverweigerung).11 The historian Götz Aly meanwhile supported Von Haken's position. In an interview in the Frankfurter Allgemeine Zeitung on December 22, 2009, Aly argued that the evidence for Eggebrecht's participation in the atrocities in Sinferopol was indeed overwhelming. Moreover, Eggebrecht's subsequent silence about his military service was quite typical of the many who had been in that situation. Aly pointed out that \"in Eggebrecht's generation there are surely 200,000 German men who were directly involved in mass executions and who were never able to shake offthese experiences.\"12 Meanwhile, two professors of musicology at the University of Hamburg, Claudia Maurer Zenck and Friedrich Geiger, delved into the archives at the University of Freiburg and family documents, producing detailed studies, presented at a public forum at the university and posted online in March 2010, that cast doubt on von Haken's ability to prove that Eggebrecht was personally involved in the atrocities. Zenck focused on the timing of Eggebrecht's promotion to Unteroffizier (\"noncommissioned officer\"), and claimed that at the time of the massacre he would almost certainly have been released from service in order to prepare for the exam. Drawing on private family correspondence (which von Haken had not had access to), she presented day-by-day accounts of Eggebrecht's activities, insofar as they can be documented during that time. She consulted military experts about the nature of promotion exams, and included in her timelines their estimates of how long preparation would take, concluding that Eggebrecht most likely was not on duty during the massacre. Zenck also emphasized Eggebrecht's role as a musician, who took every opportunity to practice the piano, even during his military service: \"He saw himself as a musician, an artist; more importantly: he was also perceived as such in the company. Captain Siedel in any case supported him in this; recall that Siedel had (presumably) obtained a piano for Eggebrecht in Belcy, so that he could play while he was stationed there.\"14 (In his essay in this volume, Browning addresses both of these points.) 3. The unabridged text of von Haken's talk at the Jahrestagung der Gesellschaftfür Musikforschung in Tübingen on September 17, 2009 was published in early 2010: Boris von Haken, \"Holocaust und Musikwissenschaft: Zur Biographie von [Hans Heinrich Eggebrecht],\" Archiv für Musikwissenschaft67 (2010): 146-63, accompanied by an editorial (in German and English) by Albrecht Riethmüller, who was a student of Eggebrecht's and teacher of von Haken's. The website of Allitera Verlag announces that Boris von Haken's book Holocaust und Musikwissenschaft: Biografische Untersuchungen zu Hans Heinrich Eggebrecht will appear in Winter 2012 (see http://www.allitera.de /Haken,+Boris+von%3AHolocaust+und+Musikwissenschaft+-+Biografische+Untersuchungen +zu+Hans+Heinrich+Eggebrecht_Allitera_978-3-86906-067-5_t.html).

Studies comparing African and European American men indicate that, when barriers to prostate cancer screening are removed, mortality and morbidity rates from prostate cancer equalise. The purpose of this study was to determine first whether cultural influences affect African American men’s decisions to participate in prostate cancer screening, andsecondly the health beliefs of African American and white women regarding prostate cancer risks for the men in their family.A total of 83 African and European American men and women with a mean age of 56.5 years were recruited at two community health fairs in the Detroit area. Data were collected using an adaptation of the health belief scale developed for use in prostate cancer screening. All decisions about the statistical significance of the findings were made using a criterion alpha level of 0.05. The results indicated that negative health beliefs differed between men and women regardless of ethnicity (F (1, 112) = 18.31, P 0.001). Women (M = 2.91, SD = 1.04) had higher scores than men (M = 1.97, SD = 0.97), indicating that they were more likely to perceive that negative health beliefs were one of the reasons why men in their family did not seek prostate cancer screening. The reasons reported in the literature regarding the reluctance of African American men to participate in prostate cancer screening were not fully supported by the findings of this study. The results indicate that prostate cancer screening may be subject toproblems of access to healthcare and health education, as opposed to cultural influences.

In the public depiction of life under socialism, the rewards of collective endeavor, the joys of family life and the pleasures of self-improvement were never far away. Yellowing newspapers and magazines display familiar photographic patterns: towns are rebuilt; farms are collectivized; children are taught to love their socialist fatherland. Yet, somewhat surprisingly, another motif emerges: in the pages of the trade union organ Tribune, the youth-orientated Neues Leben, and Junge Welt, amongst others, naked women pose in ways which have more in common with Playboy than Pravda. From the 1960s onwards, topless and full-frontal photographs of female models regularly appeared alongside dutiful soldiers and hard-working mothers. In publications which were published under the auspices of the Central Committee's Press Office, nudity was, if not the norm, then normal. Here, McLellan attempts to explore the potential of visual sources for the historian and aims to contribute to the understanding of cultural production under socialism.

Most historical writing on the central route of the East African ivory and slave trade mentions the use of cloth in bargaining for passage through different communities along the caravan path and in the markets of Ujiji, Uvira, and other towns with large market exchanges. The kanga is an enduring symbol of the resiliency of the Manyema, the ways that elite Manyema women captivated the imaginations of those they met, the power of cloth in representing their experience during the ivory and slave trade, the desirability of African fashion, and the value placed on privileging African identity.

Shot over 25 years, No Limits is a ‘7 Up’ inspired long form narrative documentary that follows the lives of our disabled protagonists – Thalidomide victims – over the course of decades, and reveals how changes in societies attitudes to disability have affected them. It is also a scathing investigation into the crime of the century, as a new generation of Thalidomide babies are born in Brazil, decades after it was banned across most of the western world and its harmful effects publicized. Academy Award winning director John Zaritsky joins activists in Germany, Canada and the UK as they plot to reveal a sinister and long hidden complicity by the Thalidomide manufacturer, their Nazi background and a quest for justice for all.