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A key question in addiction research concerns how, in some individuals, initial recreational or casual patterns of drug use may change brain and psychological function in ways that promote a transition to the problematic patterns of use that define substance use disorders (addiction). In preclinical studies, this is modeled using self-administration procedures. However, most cocaine self-administration procedures produce continuously high brain concentrations of drug, whereas in people, bouts of use are thought to be more intermittent. Here, we ask whether such temporal pharmacokinetic factors matter, by comparing and contrasting the neuropsychological consequences of intermittent vs. long access cocaine self-administration experience. It turns out, the temporal pattern of cocaine use has profound effects on a number of outcomes. First, despite much less total drug consumption, intermittent access to cocaine is more effective in producing addiction-like behavior. Second, intermittent and long access cocaine self-administration change the brain in very different ways to influence motivated behavior. We argue that intermittent access self-administration procedures might be better suited than traditional self-administration procedures for isolating drug-induced changes in neuropsychological function that contribute to the transition to cocaine addiction.

Tekst jest spojrzeniem na fenomen grupy Queen przez pryzmat filmu Bohemian Rhapsody oraz wystawy Notes on Fashion w Metropolitan Museum w Nowym Jorku, inspirowanej sławnym tekstem Susan Sontag Notes on Camp z 1964 r. Autor dowodzi, że film Bryana Singera, chociaż dość powierzchowny, odnosi sukces w jednym aspekcie: dobrze ukazuje dochodzenie wokalisty zespołu Freddiego Mercury’ego i reszty grupy Queen do show-biznesowego kampu. Giżycki stawia przy tym tezę, że Mercury, który jeszcze jako Farrokh Bulsara studiował w Ealing Art College w Londynie w latach 60., musiał znać tekst Sontag i kształtował swoją strategię wizerunkową według jego tez.

Kino i komiks pozostawały w orbicie wzajemnych zainteresowań przez niemal cały wiek XX, a efekty owych obustronnych inspiracji zmieniały się w zależności od panujących mód artystycznych i możliwości technologicznych. Celem artykułu jest zarysowanie historycznej ewolucji filmowych adaptacji komiksów, dla której momentem przełomowym jest rok 2000, kiedy miała miejsce premiera adaptacji komiksu X-Men w reżyserii Bryana Singera. Film ten, powszechnie uważany za symboliczny początek „złotej” ery ekranizacji komiksów, wprowadził do owego specyficznego gatunku filmowego nowe elementy estetyczne i narracyjne, których pokłosie można odnaleźć w niemal każdej współczesnej filmowej wersji opowieści obrazkowych. Inicjując werystyczny – tzn. maksymalnie bliski ideologicznym i graficznym cechom komiksowego oryginału – nurt w ramach okołokomiksowej kinematografii, X-Men okazują się ważnym punktem odniesienia dla badania późniejszych ekranizacji, stanowiących bliższe lub dalsze mutacje pomysłów zawartych w oryginalnym filmie Singera.

Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for the artists, which can lead to an indirect form of testimonial injustice for the artists’ victims. Third, we argue, building on the first two reasons, that honoring immoral artists can also serve to silence their victims. We end by considering how we might respond to these reasons.

In the article the Queen phenomenon is considered through the prism of the film \"Bohemian Rhapsody\" and the exhibition \"Notes on Fashion\" at the Metropolitan Museum in New York, inspired by the famous text by Susan Sontag \"Notes on Camp\" from 1964. The author argues that Bryan Singer’s film, although quite superficial, is successful in one aspect: it shows well how the singer, Freddie Mercury, and the rest of the Queen achieved their level of show business camp. Giżycki also claims that Mercury, who while studying as Farrokh Bulsara at Ealing Art College in London in the 1960s, must have known Sontag’s text and shaped his image strategy according to its theses.

With its focus on genetics, the mutant body, and social discrimination, the X-Men franchise explores themes pertinent to the health humanities. The 2017 film Logan sharpens this focus and presents a world that echoes many current social, political, and bioethical anxieties. In the film, as a result of widescale eugenics, natural-born mutants are on the verge of extinction while genetically engineered mutants are secretly manufactured as weapons. In this paper, we explore the theme of boundaries in order to examine various intersections in Logan, including the corporeal boundlessness of dying mutants, the transgressive exploits of biotechnology, the permeability of national borders, and the unbounded potential embodied by the remnants of mutantkind. The multi-vocal nature of our approach reflects the respective perspectives of our authors as well as the rich array of topical interpretive lenses which Logan invites, offering a powerful pedagogical tool to the health humanities, bioethics, and other disciplines.

[...]Eddie's popular widow's peak and Victorian attire have been replaced, and Eddie has been reimagined as a moody prepubescent boy in scout gear; Lily has ditched the Bride of Frankenstein makeup and flowing garbs in favour of a more natural appearance and curve-accentuating apparel; and kooky Grandpa has swapped Dracula's classical style for a red robe, sunglasses, and now boasts the ability to shape-shift into a blood-lusting creature. When screened in October 2012, the pilot of this attempted reimagining was seen by 5.4 million viewers and delivered a 1.6 rating in the adult demographic scale; as respectable as those numbers are, they were not enough to resurrect Herman and his family on our television sets again in the long term.

Fletcher, whose directing credits include Eddie The Eagle and WIld Bill, is expected to start next week once production resumes. Malek stars as Queen’s late frontman Freddie Mercury, whose flamboyance and extraordinary vocal range led the band to become arguably the biggest on the planet in the 1980s.

[...]of this identification with a more moody new millennium, the same comic book industry that had been unable to reach \"a mainstream audience\" since the early 1990s turned to the movie industry, growing a brand farmed from Marvel's product that, by contrast, has been \"enormously profitable\" (Johnson 65), if not entirely faithful to the generation that inspired it.