The Centers for Disease Control and Prevention began recommending “universal masking” in schools a year ago. point to the many studies associating mask mandates with lower COVID-19 rates in schools.” But those studies are mostly imaginary.
That process bears little resemblance to science. Supporters of school mask mandates assume they are effective at reducing COVID-19 transmission, then desperately search for evidence to validate that conviction. That attitude is based on the premise that rejecting mask requirements is tantamount to rejecting science. Hochul’s endless weaseling is killing the Empire StateĬalifornia school lifts mask mandate after cops respond for 4-year-old without face covering being sent homeĪmerica’s kids unmasked two years later: Examining COVID mandate consequences as students return to classĪ recent NPR report quotes a Maryland mother who complains that you risk being tarred as “a psychotic, anti-vax right-winger” if you dare to question whether children should be forced to wear face masks in day care and K‒12 schools. HFS clients enjoy state-of-the-art warehousing, real-time access to critical business data, accounts receivable management and collection, and unparalleled customer service.Gov. HFS provides print and digital distribution for a distinguished list of university presses and nonprofit institutions. MUSE delivers outstanding results to the scholarly community by maximizing revenues for publishers, providing value to libraries, and enabling access for scholars worldwide. Project MUSE is a leading provider of digital humanities and social sciences content, providing access to journal and book content from nearly 300 publishers. With warehouses on three continents, worldwide sales representation, and a robust digital publishing program, the Books Division connects Hopkins authors to scholars, experts, and educational and research institutions around the world. With critically acclaimed titles in history, science, higher education, consumer health, humanities, classics, and public health, the Books Division publishes 150 new books each year and maintains a backlist in excess of 3,000 titles.
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Inscribing literary character in performance space, both invoking and resisting the voyeuristic politics of modern fourth-wall performance, Sleep No More charts the pervasive legacy of largely literary conceptions of theatricality to the making of "new" performance, and-in its dynamic foregrounding of text, character, space, and audience-opens a series of questions about the apparent emancipation of the spectator, and about the character of "cognition," offered by theatrical "immersion." Although it leaves the spoken text of Macbeth almost entirely behind, Punchdrunk Theatre's Sleep No More-first performed in London in 2003, mounted again in Brookline, Massachusetts, in 2009, and currently running in New York City-undertakes a complex reflection on Shakespeare performance today, putting a reciprocal pressure on the critical history, situation, and practice of those terms of the art: "Shakespeare," "performance." Asserting an "immersive" epistemology, Sleep No More nonetheless evokes a surprisingly persistent, even New Critical conception of scripted language and performance.
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