A perplexing document in the early history of Gilles de la Tourette Syndrome: Melotti's rendition of a "Lecture of Charcot" (including a complete translation from the Italian with commentary)

In 1885, Dr. Guilio Melotti published an Italian translation of a lecture on "Convulsive Tics with Coprolalia and Echolalia" given by Jean-Martin Charcot. Although this lecture often has been cited as an authoritative statement of Charcot's view, until now it has not been translated into English. The lecture presents a number of statements that appear nowhere else in Charcot's published corpus, including some that seem to contradict Charcot's other pronouncements on maladie des tics. Although the Melotti-Charcot lecture may portray Charcot's position accurately in many passages, the article most likely is a compilation from a variety of sources.     

Lung cancer, chronic disease epidemiology, and medicine, 1948-1964

Beginning in the early 1950s, a series of epidemiological, biochemical, pathological, and animal studies demonstrated a link between cigarette smoking and lung cancer. A number of reputable scientists challenged these findings, but for a variety of reasons, including the behavior of the tobacco industry, historians have assumed that these objections were insubstantial and disingenuous. Viewing these objections in scientific and medical perspective, however, suggests that there was a legitimate and reasonable scientific controversy over cigarette smoking and lung cancer in the 1950s and early 1960s. That controversy had important consequences. A new chronic disease epidemiology emerged, transforming the role and importance of epidemiology to medical research. This new epidemiology supplemented Koch's postulates, establishing a statistical method that allowed for linking environmental factors to the etiology of chronic diseases. The 1964 report to the surgeon general, Smoking and Health, represented the denouement and codification of these developments. This reexamination of the scientific controversy over smoking in the 1950s and early 1960s provides an important context for understanding the subsequent public relations battles between the tobacco industry and public health after 1964.     

The Role of Bubo virginianus magellanicus as Rodent Bone Accumulator in Archaeological Sites: A Case Study for the Atuel River (Mendoza,Argentina)

Micromammalian bone assemblages from modern pellets of the strigiform Bubo virginianus magellanicus, from the upper Atuel River (southern Mendoza, Argentina), were taphonomically analysed. The results allow us to place B. v. magellanicus in the category of intermediate modification (Category 2). This sample has also been compared with results from other members of this genus, in order to classify B. v. magellanicus as a taphonomic agent. The participation of the Bubo species in archaeological accumulations has been documented, but in Argentina, the role of B. v. magellanicus has been reported up to the present. It is partly because of the sequence of one archaeological site in the south of Mendoza Province called Laguna El Sosneado‐3 (LS‐3). However, considering the absence of a current taphonomic model of this owl, this participation was mentioned as a hypothesis. In the current investigation, archaeological and modern samples have been compared. The results indicate that the skeletal element assemblages recovered from LS‐3 were accumulated by strigiform birds. Taphonomical evidence of light modifications on units I and IV indicates that Tyto alba (Category 1) was probably the main species involved in these units, whereas the taphonomical evidence on skeletal element assemblages recovered from units II and III suggests the action of a strigiform with a major category of modification such as B. v. magellanicus. Copyright © 2015 John Wiley & Sons, Ltd.     

X‐ray Diffraction and SEM Investigation of Wall Paintings Found in the Roman Temple Complex at Horvat Omrit,Israel

In the present study, the fragments of wall painting found in the Roman Temple Complex at Horvat Omrit were analysed for the first time using the non‐destructive techniques of X‐ray diffraction (XRD) and scanning electron microscopy (ESEM) equipped with energy‐dispersive X‐ray spectroscopy (EDS). The application of these methods enabled unambiguous identifications of the pigments and plaster components of the samples. Quantitative information on mineral composition, crystallite size and elemental composition of each studied paint layer and plaster was collected. Based on the results of the XRD and EDS analyses, the green pigment was identified as celadonite. It was revealed that the Egyptian blue pigment does not contain impurities of tin and lead, and this excludes the use of bronze scrap in its synthesis. Comparison of the mineral composition of the paint layers indicates that a wider palette of colours was obtained by mixing the available mineral pigments. The study of cross‐sections of painted specimens revealed the usage of slaked lime for plastering. The obtained results give a new insight into the wall painting technique employed by ancient artists at Horvat Omrit, in northern Israel.     

The provenance and distribution of Early Bronze ceramics in the Kolyaei Plain,central Zagros,Iran

Within Iran, there is little archaeological evidence for relationships between newly arrived Early Trans-Caucasian (ETC) or Kura-Araxes settlers and earlier inhabitants and contact with neighbouring cultures, or for their apparently abrupt end. Based on the evidence, the Iranian Kura-Araxes was not a simple ‘copy' of the Caucasian Kura-Araxes package. Ceramic traditions show local peculiarities, and all are elements suggesting that the Kura-Araxes traditions went through processes of adaptation, change and re-elaboration according to local tastes and technologies. In this study, an archaeometric approach to ceramics in the Kolyaei Plain of central Zagros contributes to the discussion of contact and exchange between indigenous communities and several cultural spheres of influence on the Early Bronze Age (beginning in the fourth millennium bce ). Morphological data, as well as the mineralogical and chemical composition of ceramics, were applied to determine the major and trace elements of the pottery shards. Based on the trace element profiles, it can be suggested that all the pottery shards are in the same group and they strongly are local products. The ceramic provenance indicates the same patterns of material interactions during the ETC or Kura-Araxes in all the sites within the Kolyaei Plain.     

Experimental interpretation of the presence of female genitalia in Early Bronze Age ‘frying pan'-type ceramics from the Cyclades*

Α new, testable, interpretation of the function of Aegean Early Bronze Age ‘frying pan' ceramics that combines some previously suggested uses is presented experimentally. The proposed function involves a well-documented natural phenomenon responsible for the rapid change in colour of a natural salt marsh or salt pan surface due to the explosive population growth of the extremophile Archaea Halobacterium salinarium when the salt concentration approaches saturation. The cyclical nature of the appearance of red pigmentation on the salt marsh surface every late summer or every few weeks in a domestic ‘frying pan' presents an obvious analogy with the female menstruation cycle and provides an explanation for the fact that several ceramic vessels used for this purpose bear the characteristics of the female body. Furthermore, the resulting red pigment lends itself for use as a cosmetic colorant.     

Creative geographies of ceramic artists: knowledges and experiences of landscape,practices of art and skill

This paper argues for a conception of art as an embodied and creative material practice. It draws on research conducted with seven professional ceramic artists who deal with landscape in their work to explore their processes of art-making through interview and (filmed) observation. It demonstrates the distributed range of embodied and relational more-than-artistic practices which inform how landscape is encountered, known and ultimately represented. It argues that artists’ self-expression in art is based upon material, social and political knowledges which interweave in artists’ lives. By studying ceramicists’ making this paper demonstrates both the non-conscious skill and the conscious technical knowledge needed to make art. It shows chance to have a triple role in practices of making, as something to work alongside, to work against and to draw on as a creative resource. This paper both argues for and demonstrates the value of an approach to art-making that frames it as a complex of both conscious, socio-cultural, technical knowledges and non-conscious skills which together (in)form works of (ceramic) art.