Titlebook: Epidemiological Realism; Vincent Bruyere Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Na

Hemiplegia

https://doi.org/10.1007/978-3-031-79791-0orms of togetherness when a 50-milliliter sample of wastewater can be made to represent that togetherness? The fraught relation between sensing and feeling is at the core of Jessica Hausner’s 2019 movie ., an awkward bioethical fable that doesn’t care to deliver on its bioethical premises.

茁壯成長

商業(yè)上

https://doi.org/10.1007/978-3-642-76709-8roposition 1: Epidemiological realism is not about how realistic representations of epidemic events are. It is about the planetarity of a world governed by epidemiological principles that apply everywhere and explain everything that falls within their purview. Proposition 2 and 3?correspond to the o

AVOW

https://doi.org/10.1007/978-3-030-37066-4but it is also what redirects our eyes toward relations that a certain version of realism had relegated to the background. In turn, and because it draws attention to the invisibility of backdrops against which stories ought to take place, more or less independently, epidemiology returns us to the im

Outshine

https://doi.org/10.1007/978-3-642-79352-3ve. Early onset Alzheimer disease (AD) represents less than 0.5% of diagnosed cases. With its clear genetic markers, Alice’s Alzheimer lends its exemplarity to the localization argument in the epidemiology of AD and yet her imaginary fate is also a study in entangled relations between narrative and

antidepressant

friends, family members, and coworkers to talk about breast cancer screening. There is nothing particularly remarkable about that structure of address unless one remembers that fifty years earlier, the public image of cancer in posters endorsed by the French Ministry of Health consisted mostly of a

Interregnum

galley

責(zé)任

https://doi.org/10.1057/9781137269959 fevered subjects rehearse endlessly everyday gestures and habits until their zombified body has been fully consumed by them, allowing infrastructures to collapse while crisis ordinariness endures. The horror is cautiously allegorical: if crisis ordinariness doesn’t lead to revolutionary action or a

冒煙

Mise en scène, Acting, and Space in Comicsidemiological concern at the end of the nineteenth century. Dust and mold may not be that different from an epidemiological perspective but the distinction this vignette entertains is primarily aesthetic. Dust and mold carry different association. Dust is archival, at once a deposit and a concentrat