High performance liquid chromatographic determination of alcohols with reference to body distribution of methanol

A method has been developed on reverse phase high performance liquid chromatography for simultaneous determination of methyl, ethyl and isopropyl alcohols under refractive index detection using pure water as the mobile phase. A good separation has been achieved between these alcohols. Detector response was linear with a detection limit of 5 mg/100 ml. Recovery studies were performed by adding known amounts of methyl and ethyl alcohols to blood, lung and liver within the range 80–90%. The reproducibility of the results was always >90%. The quantitative distribution of methyl alcohol in postmortem body tissues and fluids has been reported in three cases of poisoning.     

In re Browning.

HELD: Prior judicial approval is not required for a surrogate to exercise the state constitutional right of self-determination of a patient who has become incompetent and who, while competent, specifically expressed her wishes regarding medical treatment decisions orally or in writing. The surrogate, in so exercising that right, must satisfy herself that certain requirements are met.     

“The Spectacle of Fearsome Acts”: Crime in the Melting P(l)ot in <Emphasis Type="Italic">Gangs of New York</Emphasis>

This paper explores the multi-layered representations of violence and crime in the recent Hollywood film Gangs of New York [Scorcese (2003) Miramax]. We use our exploration of this film to suggest that popular culture, even through its most mainstream products, can be seen as a critical criminological space where alternative views of law, crime and the state are made available. Rather than understanding Hollywood movies simply as vehicles for disseminating conventional mores, we suggest that they can furnish critical (and complex) points of view on law and crime and that the project of a critical criminology can be strengthened by engaging more forthrightly with these ubiquitous cultural forms.     

Indigenismo and the Avant‐garde: Jorge Sanjinés' Early Films and the National Project

Jorge Sanjinés' 1960s films Revolución and Ukamau challenge the class and ethnic hierarchies of Bolivian society by casting the proletarian and indigenous masses as revolutionary liberators. The new national imaginary they evoke is tightly bound to the experimental cinematic techniques they employ, since their rejection of rationalist, realist aesthetics signals a partial undermining of the linear time of the modern nation. Ukamau both recalls and resists previous Bolivian indigenismo, which sought to co‐opt the Indian into a national mestizo consciousness. Its exoticist portrayal of the Indian ultimately limits its political effectiveness, but textual and contextual analyses show subversive Indian agency leaking through.