To better understand the epizootiology of Escherichia coli O157:H7 among cattle, all E. coli O157 isolates recovered on a research feedlot during a single feeding period were characterized by multiple-locus variable-number tandem repeat analysis (MLVA). Three distinct MLVA subtypes (A, B, C), accounting for 24%, 15%, and 64% of total isolates, respectively, were identified. Subtypes A and B were isolated at the initiation of sampling, but their prevalence waned and subtype C, first isolated on the third sampling date, became the predominant subtype on the feedlot. Supershedding events, however, occurred with equal frequency for all three MLVA-types. Using a multilevel logistic regression model, we investigated whether the odds of shedding subtype C relative to subtypes A or B were associated with time, diet, or the presence of a penmate shedding high numbers of subtype C. Only time and exposure to an animal shedding MLVA-type C at 10³ colony-forming units or greater in the pen at the time of sampling were significantly associated with increased shedding of subtype C. High-level shedding of those E. coli O157 subtypes better suited for survival in the environment and/or in the host appear to play a significant role in the development of predominant E. coli O157 subtypes. Supershedding events alone are neither required nor sufficient to drive the epidemiology of specific E. coli O157 subtypes. Additional factors are necessary to direct successful on-farm transmission of E. coli O157.
Many clinicians have noted that a principal issue in psychotherapy with women is the exaggerated shame often experienced and uncovered during treatment (e.g., Jones, 1990;Rawlings & Carter, 1977; Resneck-Sannes, 1991;Scheff & Retzinger, 1991). Research also suggests that women may be more likely to feel a more profound humiliation regarding the commission of impulsive actions than do men (Johnson, McCown, & Booker, 1986). These feelings are associated with a variety of behaviors that men may find less stigmatizing, including violence (Scheff & Retzinger, 199 1) , sexual behavior (Reiss, 1990), and alcohol and other drug abuse (Miller, 1980). Women are also likely to experience serious humiliation and stigmatization when they are victims of the impulsive behavior of others, as is indicated by the negative social response to sexual abuse victims (Blume, 1990; Lowery, 1987).In this chapter we present several new studies reiterating that impulsive actions committed by women are judged more harshly than areWe wish to thank Deborah Barkhausen for her contribution to this chapter.
Although he did take up several pen names during his career, Samuel L. Clemens predominantly stuck with his most famous nom de plume, Mark Twain. If asked to imagine Twain, most people would call to mind his bushy hair, mustache, and eyebrows along with his signature white suit, and, perhaps, a cigar. Although his wardrobe was more varied than such a sketch would denote,
Mark Twain begins his 1880 travelogue, A Tramp Abroad, with the ostensible goal of studying art. Early on, he describes inserting his own paintings into a gallery's “wilderness of oil pictures,” calling attention to the text's complicated relationship with nature and art. Quite often, Twain approaches art as a reflection of human hubris, his own included: his consideration of the overblown reputations of Old Masters who owe time more than skill for their veneration is a case in point. But it is notable that throughout A Tramp Abroad, Twain perseverates on the imagistic and physical imposition of the human over the landscape, questioning what goes into, and comes out of, anthropocentric visions of the environment. Rather than perpetuating the split between human and nature, so prominent in nineteenth-century picturesque and sublime art, he reorients himself and his reader so that we are off to the side, no longer chasing after dominance but coexisting, even minimized. In A Tramp Abroad, Twain disrupts the petrification of the natural world and the overwriting of the human onto the nonhuman from aesthetic, touristic, and nationalist vantage points by confronting the way the world is often translated into human terms. While Twain's characteristic humor ripples across the surface of A Tramp Abroad, the text uses his course of study to pose serious questions, ones connecting the author's aesthetic reflections with his perambulations. He asks what is wilderness? how do we define (or refine) it? and how do our renderings of it affect our relationship to it?
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