For as long as human cultures have been imagining and constructing worlds there have been island ... more For as long as human cultures have been imagining and constructing worlds there have been island worlds. Island topographies have occupied a considerable place in the cultural imaginary from some of the earliest recorded literature, and they are to be found in discussions of mythology, philosophy, and religion across vastly divergent historical and literary cultures. They are important symbolic landscapes that carry a weight of cultural meaning within the popular imagination. In attempting to define precisely what an island is, however, we find that these divergent meanings often collide. Islands are at once insular and small, as well as vast and unbound; they are cut off from the mainland but occupy an important structural relation to it. Islands imply isolation and oneness, but they are also the symbols of interconnectivity, representative of the continuous geomorphological processes occurring beneath the earth's surface. They are microcosms and entire worlds; places of refuge as well as suffering; sites of freedom and imprisonment; and landscapes of punishment and redemption. They are neither small nor big, neither one thing nor the other, but represent what Godfrey Baldacchino terms a "nervous duality" (2005, p. 248). Rather than thinking of islands in isolation, an island "confronts us as a juxtaposition and confluence of the understanding of local and global realities, of interior and exterior references of meaning." (Baldacchino, 2005, p. 248). Islands are thus characterised by their interstitiality, and the polyvalency of their cultural signification. They have been defined variously in terms of their "boundedness" and as "places of possibility and promise" (Edmond and Smith, 2003, p. 2). They are "laboratory environments" (p. 3) for various social, anthropological, and botanical experiments, and serve "as early warning signal from which we can examine human impacts on a small scale." (Walker and Bellingham, 2011, page xii). The concept of an island "brings with it at once the notion of solitude and of a founding population," (Beer, 2003, p. 33) as well as serving as an "aesthetic refuge from the confused, congested public realm," (Conrad, 2009, p. 15) and as a place of "healing, inspiration and perspective upon the vulnerability of our own present civilization." (Manwaring, 2008, p. 1). Islands are "reflections on origins" (Loxley, 1990, p. 3), "places of arrival and departure" (Edmond and Smith, 2003, p. 7), and "metaphors for individual lives, with a beginning, middle, and end" (Rainbird, 2007, p. 13). They are an "existential terrain" upon which the individual is "confronted by edges, or by the end" (Conrad, 2009, p. 7-8). The island metaphor also functions as a "dynamic space of becoming" (Lane, 1995, p. 16), a "place of reflection where one knows oneself as is and would be" (Denning, 2004, p. 100) as one is forced to fend for oneself. Indeed, it is upon the island that the "conditions for a rebirth or genesis are made possible" (Loxley, 1990, p. 3). Islands are "site[s] of double identity" and are "always-already in the process of transforming the particular into something other than its (original, essential) self" (Bongie, 1998, p. 18). Indeed, islands should enable people "to enter into a different state of consciousness" (Manwaring, 2008, p. 9). The appeal of the island image within the cultural imagination "is both fed by and feeds upon the use of the concept of island in reality or metaphor by artists and writers" (Royle, 2001, p. 13). The island image has thus been rehearsed and reused throughout literary history, and its symbolic function has been informed both by the uniqueness of its physiological characteristics and the various historical periods across which the trope has been carried-from mythological antiquity to those fictional voyages of discovery, and from European exploration into the Southern Seas to contemporary islomania, and the cultural obsession with islands. It is precisely the fluctuation "between the perceived and the projected, between the actual and the imaginary" (Manwaring, 2008, p. 63) that constituted early imaginings of islands as fictive worlds. Islands are "the most glorious map of the imagination" (Manley and Manley, 1970, p. 228) for it is through and with islands that our early fictions began to spatialize our earliest literary-historical mythologies. Island landscapes provide "metaphors that allow us to give shape to a world that would otherwise be formless and meaningless" (Gillis, 2004, p. 1); they are originary topoi upon which narratives of birth and rebirth have been written. John Gillis rightly notes that "Any history of islomania must begin with the Odyssey." (2004, p.5). It is no coincidence that Homer elects to set so much of the action of his Greek epic on the islands of the Ionian Sea, the birthplace of much of the earliest historical Greek myths. Islands are essential to the spatial narrative of The Odyssey, and Odysseus's journey from one island to another affords the narrative an expansive imaginative geography that often, though not always, overlaps with the material geography of the extant Ionian. Most famous of the islands encountered in The Odyssey, perhaps, is Aeaea, belonging the sea-witch Circe, and Siren Island, home to the infamous sirens, creatures who in all respects resemble beautiful young women, and who lure passing sailors to their deaths. From their earliest inception, islands were cast as threatening, corrupting places to and from which men were exiled; they were places which impelled action and travail, and which called out to be explored. Most significantly, Circe's island is reported to be located at the edge of the known world, far beyond the oceans that Homer's contemporaries had explored. While the islands of The Odyssey represent mythological geographies upon which we can imagine our own conception, they also plot a fictive cartography within the cultural imagination of other islands yet to be discovered.
1. Introduction 2 Clinical Studies 2.1 Mood disorders and cognitive dysfunction are highly comorb... more 1. Introduction 2 Clinical Studies 2.1 Mood disorders and cognitive dysfunction are highly comorbid and correlative in GIDD 2.2 GIDD are associated with changes in cognition 2.3 GIDD drive structural, functional, and connective changes in the brain Brain-Gut Neuroanatomy GIDD impact neural processing of pain GIDD impact neural regions associated with cognition and mentation 2.4 GIDD drive functional, structural, and connective changes in the Anterior Cingulate Cortex GIDD is associated with increased Anterior Cingulate Cortex activity GIDD are associated with an increase in ACC metabolism GIDD are associated with structural changes in the ACC GIDD is associated with altered connectivity of the ACC Conclusion 3 Preclinical Studies 3.1 Animal models of GIDD 3.2 Animal models of GIDD induce behavioral changes 3.3 Mechanisms of neuroinflammation: glial cells 3.4 Other players in neuroinflammation: mast cells, T cells, monocytes 3.5 Resolution of neuroinflammation 3.6 Animal models of GIDD drive neural changes 3.7 Animal models of GIDD: Role of the ACC 3.9 Acute versus chronic models of GIDD 3.10 Conclusions 4 Adaptive and maladaptive consequences of ACC inflammation 4.1 Adaptive function of depression and anxiety 4.2 Ethological origin of limbic brain systems-function of the ACC 4.3 Hypothesis for the functional aetiology of depression/anxiety 4.4 Top down: Effects of the brain (ANS) on the gut 4.4.1 Sympathetic Nervous System effects on the gut and brain 4.4.2 Parasympathetic nervous system and the Vagus Nerve 4.4.3 Relationship between the ACC and the ANS 5 Remediation of gut-brain dysfunction 5.1 Pharmacological therapies 5.2 The gut-microbiome and diet 5.4 Stress reduction techniques 10 5.5 Conclusion 10
For as long as human cultures have been imagining and constructing worlds there have been island ... more For as long as human cultures have been imagining and constructing worlds there have been island worlds. Island topographies have occupied a considerable place in the cultural imaginary from some of the earliest recorded literature, and they are to be found in discussions of mythology, philosophy, and religion across vastly divergent historical and literary cultures. They are important symbolic landscapes that carry a weight of cultural meaning within the popular imagination. In attempting to define precisely what an island is, however, we find that these divergent meanings often collide. Islands are at once insular and small, as well as vast and unbound; they are cut off from the mainland but occupy an important structural relation to it. Islands imply isolation and oneness, but they are also the symbols of interconnectivity, representative of the continuous geomorphological processes occurring beneath the earth's surface. They are microcosms and entire worlds; places of refuge as well as suffering; sites of freedom and imprisonment; and landscapes of punishment and redemption. They are neither small nor big, neither one thing nor the other, but represent what Godfrey Baldacchino terms a "nervous duality" (2005, p. 248). Rather than thinking of islands in isolation, an island "confronts us as a juxtaposition and confluence of the understanding of local and global realities, of interior and exterior references of meaning." (Baldacchino, 2005, p. 248). Islands are thus characterised by their interstitiality, and the polyvalency of their cultural signification. They have been defined variously in terms of their "boundedness" and as "places of possibility and promise" (Edmond and Smith, 2003, p. 2). They are "laboratory environments" (p. 3) for various social, anthropological, and botanical experiments, and serve "as early warning signal from which we can examine human impacts on a small scale." (Walker and Bellingham, 2011, page xii). The concept of an island "brings with it at once the notion of solitude and of a founding population," (Beer, 2003, p. 33) as well as serving as an "aesthetic refuge from the confused, congested public realm," (Conrad, 2009, p. 15) and as a place of "healing, inspiration and perspective upon the vulnerability of our own present civilization." (Manwaring, 2008, p. 1). Islands are "reflections on origins" (Loxley, 1990, p. 3), "places of arrival and departure" (Edmond and Smith, 2003, p. 7), and "metaphors for individual lives, with a beginning, middle, and end" (Rainbird, 2007, p. 13). They are an "existential terrain" upon which the individual is "confronted by edges, or by the end" (Conrad, 2009, p. 7-8). The island metaphor also functions as a "dynamic space of becoming" (Lane, 1995, p. 16), a "place of reflection where one knows oneself as is and would be" (Denning, 2004, p. 100) as one is forced to fend for oneself. Indeed, it is upon the island that the "conditions for a rebirth or genesis are made possible" (Loxley, 1990, p. 3). Islands are "site[s] of double identity" and are "always-already in the process of transforming the particular into something other than its (original, essential) self" (Bongie, 1998, p. 18). Indeed, islands should enable people "to enter into a different state of consciousness" (Manwaring, 2008, p. 9). The appeal of the island image within the cultural imagination "is both fed by and feeds upon the use of the concept of island in reality or metaphor by artists and writers" (Royle, 2001, p. 13). The island image has thus been rehearsed and reused throughout literary history, and its symbolic function has been informed both by the uniqueness of its physiological characteristics and the various historical periods across which the trope has been carried-from mythological antiquity to those fictional voyages of discovery, and from European exploration into the Southern Seas to contemporary islomania, and the cultural obsession with islands. It is precisely the fluctuation "between the perceived and the projected, between the actual and the imaginary" (Manwaring, 2008, p. 63) that constituted early imaginings of islands as fictive worlds. Islands are "the most glorious map of the imagination" (Manley and Manley, 1970, p. 228) for it is through and with islands that our early fictions began to spatialize our earliest literary-historical mythologies. Island landscapes provide "metaphors that allow us to give shape to a world that would otherwise be formless and meaningless" (Gillis, 2004, p. 1); they are originary topoi upon which narratives of birth and rebirth have been written. John Gillis rightly notes that "Any history of islomania must begin with the Odyssey." (2004, p.5). It is no coincidence that Homer elects to set so much of the action of his Greek epic on the islands of the Ionian Sea, the birthplace of much of the earliest historical Greek myths. Islands are essential to the spatial narrative of The Odyssey, and Odysseus's journey from one island to another affords the narrative an expansive imaginative geography that often, though not always, overlaps with the material geography of the extant Ionian. Most famous of the islands encountered in The Odyssey, perhaps, is Aeaea, belonging the sea-witch Circe, and Siren Island, home to the infamous sirens, creatures who in all respects resemble beautiful young women, and who lure passing sailors to their deaths. From their earliest inception, islands were cast as threatening, corrupting places to and from which men were exiled; they were places which impelled action and travail, and which called out to be explored. Most significantly, Circe's island is reported to be located at the edge of the known world, far beyond the oceans that Homer's contemporaries had explored. While the islands of The Odyssey represent mythological geographies upon which we can imagine our own conception, they also plot a fictive cartography within the cultural imagination of other islands yet to be discovered.
1. Introduction 2 Clinical Studies 2.1 Mood disorders and cognitive dysfunction are highly comorb... more 1. Introduction 2 Clinical Studies 2.1 Mood disorders and cognitive dysfunction are highly comorbid and correlative in GIDD 2.2 GIDD are associated with changes in cognition 2.3 GIDD drive structural, functional, and connective changes in the brain Brain-Gut Neuroanatomy GIDD impact neural processing of pain GIDD impact neural regions associated with cognition and mentation 2.4 GIDD drive functional, structural, and connective changes in the Anterior Cingulate Cortex GIDD is associated with increased Anterior Cingulate Cortex activity GIDD are associated with an increase in ACC metabolism GIDD are associated with structural changes in the ACC GIDD is associated with altered connectivity of the ACC Conclusion 3 Preclinical Studies 3.1 Animal models of GIDD 3.2 Animal models of GIDD induce behavioral changes 3.3 Mechanisms of neuroinflammation: glial cells 3.4 Other players in neuroinflammation: mast cells, T cells, monocytes 3.5 Resolution of neuroinflammation 3.6 Animal models of GIDD drive neural changes 3.7 Animal models of GIDD: Role of the ACC 3.9 Acute versus chronic models of GIDD 3.10 Conclusions 4 Adaptive and maladaptive consequences of ACC inflammation 4.1 Adaptive function of depression and anxiety 4.2 Ethological origin of limbic brain systems-function of the ACC 4.3 Hypothesis for the functional aetiology of depression/anxiety 4.4 Top down: Effects of the brain (ANS) on the gut 4.4.1 Sympathetic Nervous System effects on the gut and brain 4.4.2 Parasympathetic nervous system and the Vagus Nerve 4.4.3 Relationship between the ACC and the ANS 5 Remediation of gut-brain dysfunction 5.1 Pharmacological therapies 5.2 The gut-microbiome and diet 5.4 Stress reduction techniques 10 5.5 Conclusion 10
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