Besides offering opportunities in both clinical and non-clinical domains, the application of novel neuroimaging technologies raises pressing dilemmas. ‘Responsible Research and Innovation’ (RRI) aims to stimulate research and innovation activities that take ethical and social considerations into account from the outset. We previously identified that Dutch neuroscientists interpret “responsible innovation” as educating the public on neuroimaging technologies via the popular press. Their aim is to mitigate (neuro)hype, an aim shared with the wider emerging RRI community. Here, we present results of (...) a media-analysis undertaken to establish whether the body of articles in the Dutch popular press presents balanced conversations on neuroimaging research to the public. We found that reporting was mostly positive and framed in terms of (healthcare) progress. There was rarely a balance between technology opportunities and limitations, and even fewer articles addressed societal or ethical aspects of neuroimaging research. Furthermore, neuroimaging metaphors seem to favour oversimplification. Current reporting is therefore more likely to enable hype than to mitigate it. How can neuroscientists, given their self-ascribed social responsibility, address this conundrum? We make a case for a collective and shared responsibility among neuroscientists, journalists and other stakeholders, including funders, committed to responsible reporting on neuroimaging research. (shrink)

Bacteria have developed an impressive ability to survive and propagate in highly diverse and changing environments by evolving phenotypic heterogeneity. Phenotypic heterogeneity ensures that a subpopulation is well prepared for environmental changes. The expression bet hedging is commonly (but often incorrectly) used by molecular biologists to describe any observed phenotypic heterogeneity. In evolutionary biology, however, bet hedging denotes a risk‐spreading strategy displayed by isogenic populations that evolved in unpredictably changing environments. Opposed to other survival strategies, bet hedging evolves because the (...) selection environment changes and favours different phenotypes at different times. Consequently, in bet hedging populations all phenotypes perform differently well at any time, depending on the selection pressures present. Moreover, bet hedging is the only strategy in which temporal variance of offspring numbers per individual is minimized. Our paper aims to provide a guide for the correct use of the term bet hedging in molecular biology. (shrink)

This paper explores an approach to the implementation and evaluation of integrated health service delivery. It identifies the key issues involved in integration evaluation, provides a framework for assessment and identifies areas for the development of new tools and measures. A proactive role for evaluators in responding to health service reform is advocated.

In this article I shall argue for an interpretation of Odyssey 19.393–466 as a flash-back taking place in the mind of Eurykleia at the moment she recognises Odysseus' scar. That Eurykleia somehow forms the connection between main story and digression has been suggested before, but so far other interpretations have been defended with more fervour. Most famous of these interpretations is the one given by E. Auerbach in the first chapter of his Mimesis. He had chosen 19.393–466 to illustrate his (...) thesis that in Homer everything is ‘fully externalized’ and that there is no background, only a ‘uniformly illuminated’ foreground. According to Auerbach the digression on the scar stands in complete isolation to its context. It is meant to ‘relax the tension’, to make the hearer/reader ‘forget what had just taken place during the footwashing’, and although it might have been presented as a recollection of Odysseus , this ‘subjectivisticperspectivistic procedure, creating a foreground and background’ was not chosen, being ‘entirely foreign to the Homeric style’. Some twenty years later this interpretation was challenged by A. Köhnken, who, however, stuck to the idea that the digression is not told from the restricted perspective of one of the characters but from the perspective of the omniscient narrator; he claims that foreground and background are marked as such through a difference in narrative style: ‘berichtende Erzählung’ for the digression itself and ‘szenische Darstellung’ for the context. I disagree with both points. (shrink)

In his celebrated article on the narrative technique of Odysseus' Wanderings W. Suerbaum concludes that this character's narration is not essentially different from that of the primary narrator of the Odyssey . Even though Odysseus is a first-person narrator and hence is subject to certain restrictions, these are almost completely counterbalanced by his ex eventu knowledge. For example, he can even report a conversation which took place on Olympus , because it was afterwards reported to him by Calypso, who heard (...) it from Hermes . He can also tell what went on in the minds of his companions , because they later told him what they had felt . Suerbaum's conclusion is shared by M. Fusillo and A. Heubeck, p. 11. (shrink)

In his celebrated article on the narrative technique of Odysseus' Wanderings (‘Ich-Erzählungen’) W. Suerbaum concludes that this character's narration is not essentially (‘wesentlich’) different from that of the primary narrator of theOdyssey(p. 163). Even though Odysseus is a first-person narrator and hence is subject to certain restrictions, these are almost completely counterbalanced by hisex eventuknowledge. For example, he can even report a conversation which took place on Olympus (12.376–88), because it was afterwards reported to him by Calypso, who heard it (...) from Hermes (12.389–90). He can also tell what went on in the minds of his companions (10.415–17), because they later told him what they had felt (10.419–21). Suerbaum's conclusion is shared by M. Fusillo (‘Ulysse contrôle toujours une vision panoramique avec focalisation zéro et ne la concentre pas en lui-même comme personnage’) and A. Heubeck, p. 11 (‘the form in which Odysseus is made to tell his story is entirely in harmony with the narrative style elsewhere’). (shrink)