Richard Cándida Smith

Contamination of operating room personnel during total arthroplasty.

The authors prospectively evaluated the degree of contamination to the operating room team during 60 consecutive total joint arthroplasties. Each member of the team was required to wear a hood, mask, protective eyewear, and shoecovers. At the conclusion of each procedure, all members were assessed in terms of degree and location of contamination. One hundred percent of the surgeons and first assistants were exposed. The face and eyewear were noted to be the area of greatest contamination. The authors found orthopedic surgeons to be at significant risk of contamination with blood and body fluids during total joint arthroplasty.

The Modern Moves West: California Artists and Democratic Culture in the Twentieth Century

Contents List of Illustrations Introduction: Dilemmas of Professional Culture 1. The Case for Modern Art as a Distinct Form of Knowledge 2. Modern Art in a Provincial Nation 3. Modern Art and Californias Progressive Legacies 4. From an Era of Grand Ambitions 5. Becoming Postmodern 6. California Assemblage: Art as Counterhistory 7. Learning from the Watts Towers 8. Contemporary Art Along the U.S.-Mexican Border Conclusion: Improvising from the Margins Notes Index Acknowledgments

Érico Veríssimo, um embaixador cultural nos Estados Unidos

This article examines the goals that the U.S. government had in inviting the writer Erico Verissimo for successive trips from 1941 on, when it got in touch with editors, reviewers and the audience. It also analyses the effects of developing long-lasting connections with the United States on his career; explores the factors that contributed to Verissimos success in the United States; and examines the difficulties he faced when negotiating with North American publishers; finally, details Verissimos role as a public speaker in the United States promoting greater public understanding of Brazil while, most importantly from the U.S. government perspective, building support within the United States for the Good Neighbor Policy and U.S. military installations inside Brazil.This article examines the goals that the U.S. government had in inviting the writer Erico Verissimo for successive trips from 1941 on, when it got in touch with editors, reviewers and the audience. It also analyses the effects of developing long-lasting connections with the United States on his career; ex-plores the factors that contributed to Verissimo’s success in the United States; and examines the diffi-culties he faced when negotiating with North American publishers; finally, details Verissimo’s role as a public speaker in the United States promoting greater public understanding of Brazil while, most importantly from the U.S. government perspective, building support within the United States for the Good Neighbor Policy and U.S. military installations inside Brazil.

Érico Veríssimo, a Brazilian Cultural Ambassador in the United States

This article examines the goals that the U.S. government had in inviting the writer Erico Verissimo for successive trips from 1941 on, when it got in touch with editors, reviewers and the audience. It also analyses the effects of developing long-lasting connections with the United States on his career; explores the factors that contributed to Verissimos success in the United States; and examines the difficulties he faced when negotiating with North American publishers; finally, details Verissimos role as a public speaker in the United States promoting greater public understanding of Brazil while, most importantly from the U.S. government perspective, building support within the United States for the Good Neighbor Policy and U.S. military installations inside Brazil.This article examines the goals that the U.S. government had in inviting the writer Erico Verissimo for successive trips from 1941 on, when it got in touch with editors, reviewers and the audience. It also analyses the effects of developing long-lasting connections with the United States on his career; ex-plores the factors that contributed to Verissimo’s success in the United States; and examines the diffi-culties he faced when negotiating with North American publishers; finally, details Verissimo’s role as a public speaker in the United States promoting greater public understanding of Brazil while, most importantly from the U.S. government perspective, building support within the United States for the Good Neighbor Policy and U.S. military installations inside Brazil.

Érico Veríssimo, embajador cultural en Estados Unidos

This article examines the goals that the U.S. government had in inviting the writer Erico Verissimo for successive trips from 1941 on, when it got in touch with editors, reviewers and the audience. It also analyses the effects of developing long-lasting connections with the United States on his career; explores the factors that contributed to Verissimos success in the United States; and examines the difficulties he faced when negotiating with North American publishers; finally, details Verissimos role as a public speaker in the United States promoting greater public understanding of Brazil while, most importantly from the U.S. government perspective, building support within the United States for the Good Neighbor Policy and U.S. military installations inside Brazil.This article examines the goals that the U.S. government had in inviting the writer Erico Verissimo for successive trips from 1941 on, when it got in touch with editors, reviewers and the audience. It also analyses the effects of developing long-lasting connections with the United States on his career; ex-plores the factors that contributed to Verissimo’s success in the United States; and examines the diffi-culties he faced when negotiating with North American publishers; finally, details Verissimo’s role as a public speaker in the United States promoting greater public understanding of Brazil while, most importantly from the U.S. government perspective, building support within the United States for the Good Neighbor Policy and U.S. military installations inside Brazil.

“Romper lo que está resquebrajado”: 1968 in the United States of America

Due to the inability of the United States political structure to resolve deep internal disagreements over the Vietnam War, Americans lost their faith in an effective public order regardless of their political sympathies. 1968 was the year in which faith in the nation’s political institutions cracked. The year began with an organized movement within the Democratic Party to oust Lyndon Johnson from the White House and to place an antiwar leader at the head of the party, a leader who would refocus the political energies of the nation on healing racial division and the “war on poverty.” The assassinations of Martin Luther King, Jr., and Robert F. Kennedy terminated movement to national reconciliation around a progressive program. Conservatives profited from escalating internal violence by presenting themselves as the only political force capable of bringing order. The New Left did not profit from the national political crisis, but new social movements forced into the public arena new conceptions of how the nation had developed and what “justice for all” entailed. The left failed politically, but its movements transformed the conduct of everyday life. The direction flowing from 1968 in the United States proved over the long term to be cultural regeneration of the nation’s liberal values to fit the realities of a more diverse and divided citizenry.

Postwar modern art and California's progressive legacies

This essay explores mid-twentieth-century cultural and social shifts resulting from Californias once-famous commitment to expanding public education. The starting point is how progressive ideologies of education shaped the ambitions of Jay DeFeo (1929 – 1989), one of the states most important mid-twentieth-century artists. Three distinct lenses are used: (1) the pedagogical goals of the Department of Art at the University of California, Berkeley, in the 1940s, when DeFeo pursued her undergraduate and masters degrees; (2) womens modern art networks that developed around the state throughout the first half of the twentieth century and the models that provided young women like DeFeo with intellectual and creative ambitions; and (3) an examination of what expanded access to higher education meant more generally for a group of young women who graduated with DeFeo from San José High School in 1946. The essay moves between art and social history in order to reveal the correlation of overlapping sets of social relations and the subjective horizons they provided for young adults responding to a complex set of opportunities and limitations. An argument regarding the larger effects of expanding higher education emerges from the juxtaposition of the social, institutional and subjective domains drawn from a narrow slice, a microhistory in effect, of California mid-twentieth-century cultural shifts, some of which took material form in paintings, others in the decisions people made about the most intimate aspects of their lives.