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African apes and orangutans experience temporal and spatial fluctuations in fruit availability with similar behavioral consequences. Relying on the African apes as a comparative ecogeographic model, this chapter examines jaw form among Pongo pygmaeus morio, P.p. wurmbii, and P. abelii to determine if these populations differ predictably in ways that reflect their ecological profiles. Pongo p. morio is characterized by the longest lean fruiting periods and relies to the greatest extent on resistant and hard foods. These orangutans are found to exhibit the relatively most robust mandible, and thus display the relatively greatest capacity to counter large and repetitive jaw loads. Pongo abelii, which maintains a fruit-dominated diet even in times of fruit scarcity, displays the relatively least robust mandible. Orangutans are further shown to display a relationship between variance in energy intake, feeding efficacy, and relative brain size, suggesting a link among morphological divergence, behavioral ecology, and life history.

The phylum Micrognathozoa consists of only one species, the microscopic Limnognathia maerski, which was discovered in a cold spring at Disko Island in Greenland. Limnognathia is a cylindrical worm with a rounded head and abdomen, and a mid-body characterised by transverse wrinkles. The species has cellular tissues, with paired ovaries that probably consist of naked oocytes. The presence of the unusual internal skeletal lamina suggests that it is a sister group of the rotifers, while the complicated jaws are very similar to those of both gnathostomulids and the free-living rotifers. These observations strongly support Limnognathia’s position within the Gnathifera.

Huge disaster movies became popular, and the need for “more bodies” meant more work for stuntwomen. Movies celebrating stuntmen were released: Stunts (1977), Hooper (1978), and The Stunt Man (1980). New stunts sometimes led to accidents and injuries caused by inexperienced crews, rushing the shot, and a lack of safety regulations. Trust eroded between stunt people and crews, and stuntwomen learned to rely on their instincts.

The jaw jerk (or masseter reflex) is a monosynaptic reflex that presents an opportunity to study the peripheral and central function of the trigeminal nerve. It is elicited by tapping the midpoint of the chin with a special reflex hammer containing a microswitch to simultaneously trigger the sweep of the oscilloscope. Surface recordings are made bilaterally from the masseter muscles. Stimulation of the spinal cord can be accomplished with specialized stimulators, capable of delivering high voltages or high-density magnetic fields. The cervical spinal cord can be stimulated, however, with equipment normally present in the electromyography laboratory. The latency obtained is a combination of conduction time through the spinal cord, plus peripheral conduction through the sciatic nerve. The peripheral component can be determined by eliciting the corresponding M and minimal F waves on peroneal stimulation at the fibular head.

The appearance of the tool constitutes, for the palaeontologist, a decisive step in the process of ‘hominization’. This step raises an intriguing problem for the neurobiologist: what, on a biological level and, more specifically, in terms of the organization of nervous structures, permitted the crossing of the ‘cerebral Rubicon’ which separates man from other primates? The study of fossil man has clearly established the presence of manufactured tools beside skeletons that had the fundamental characteristics of the human species, i.e. upright posture, prehensile hands, a reduction of jaw size, and a significant enlargement of the skull. These findings highlight three major fields of enquiry for the neurobiologist.

This chapter considers how the tongue, neck, and jaw cause tension in singers, along with some pedagogical ways of controlling them. The tongue occupies much of the vocal tract and can alter the spatial arrangements of the buccopharyngeal (mouth-pharynx) cavity, which is the chief resonance chamber of the voice. The neck, in which the chief instrument of phonation is housed, is a complex of muscular systems attaching to the head and to the torso. What one does with the nuchal muscles (back of the neck) and muscles of the submandibular area (below the jaw) influences laryngeal function. The jaw is capable of both lateral and perpendicular movements, and hence can affect the entire phonatory operation.

This chapter focuses on the “incorrupt jaw and tongue” of St. Anthony of Padua, known for his legendary ability to use vocal timbres and histrionics in preaching. Thousands of devout pilgrims come to visit the ornate shrine of St. Anthony in the Italian city of Padua. Several parts of his vocal mechanism, which functioned so mellifluously 750 years ago, have become objects of religious veneration in the cathedral at Padua. The saint's “incorrupt” tongue has endured not only physically but spiritually, and the thoughts expressed by that ancient vocal instrument continue to speak to us today, in part because of the “golden delivery” that came from efficient physiologic and acoustic use of his vocal tract. One doesn't have to be a believer to recognize that ideas conveyed through specific vocal timbres evoke strong emotional and spiritual responses.

This chapter discusses the role of the jaw in singing. Jaw tension is often a problem for singers. When there is tension in the mandible (jaw) there generally is a corresponding rigidity in the tongue muscles, which subsequently is transferred to the level of the larynx. Exercises to reduce jaw tension are a part of most vocal pedagogies. Many jaw problems result directly from concepts the singer has about arranging ideal resonator “space.” The resonator tube (the vocal tract) extends from the larynx to the lips, and alters its position in reaction to postures of the jaw and tongue. A singer must know how the jaw actually works in phonation if satisfactory solutions to mandibular tension are to be found. Many singers suffering from temporomandibular joint syndrome find that this condition can go away by not hanging the jaw in the hope of “opening” the throat.

This chapter describes the making of Jaws. While Spielberg was not the first choice as director, he was eventually chosen for the project and his signing was announced on June 21, 1973. Jaws would later become the biggest moneymaker in motion picture history.

The single strip 3D films of the 1980s are described along with their boxoffice appeal and their technology of production and exhibition. The major hits, like Friday the 13th Part III in 3D and Jaws 3D are reviewed along with their critical reception.

Everyone knows Jaws invented the blockbuster. Because of marketing? The story? Some connection to our primal fears? Half of the audience saw Jaws as a knowing throwback to the cheesy monster movies of old; the other half just saw it as a monster movie. That split audience—one sophisticated, one not—would be the key to the studio renaissance. Jaws isn’t yet the story of its studio, but it is the story that teaches the audience how to look out for what lies beneath.

This chapter discusses the anatomy of the jaws and teeth of cartilaginous fishes as well as the role of the muscles and teeth in jaw extension, seizure, and handling of prey. Most sharks, rays, and chimaeras are tertiary consumers, occupying the same trophic level as the prey of the white shark. These species feed upon small fishes, cephalopods, and mollusks that in turn feed on zooplankton. There are three steps in active predation: approach, seizure, and handling of the prey. The extent of attachment of the jaws to the cranium has lessened over evolutionary time in the cartilaginous fishes. The ancient sharks needed to swallow their prey whole due to the rigid attachment of the jaws to the cranium. The jaws of the modern sharks trend toward a less rigid attachment to the cranium.

Surveys the constituent parts of the Plataian Tripod and scholarship devoted to them, including the golden cauldron, the bronze column, the inscription, an upper jaw of a serpent’s head, the original base at Delphi, the marble base and foundation, water pipes at Constantinople, and a stamped lead fistula. Concludes with a look at modern reconstructions of the tripod, between which the only significant difference is the shape and size of the golden tripod; they range from one in which the tripod and cauldron are smaller, with feet resting on the serpent heads, to one in which far larger tripod surmounts the entire bronze sculpture, its feet resting on the same stone base as the column.

In this chapter, a distant ancestor makes a success of greed, laziness, and fear; a driver hits the jackpot; and Dorothy comes to a fork in the yellow brick road. But mainly we consider how the brain evolved. A succession of forks in our evolutionary road produced new brain areas that are crucial for memory. Each of these areas has its own kind of memory, which evolved in a now-extinct ancestral species long ago. In each case, new forms of memory helped these species survive and thrive in circumstances very different from our own. During human evolution, the brain began expanding about 3 million years ago. It reached its current size and shape about 400,000 years ago, long before the acceleration in cultural innovation that characterizes human societies.

Steven Spielberg’s Jaws (1975) terrified audiences through its convincing depiction of shark attacks off the coast of the New England island Amity. A great white shark terrorizes bathers, but local politicians refuse to acknowledge the danger, fearing a drop in tourism. The protagonist, Chief Brody, faces the truth and unselfishly attempts to save his community from the danger. This chapter argues that the power of Jaws to engage and disturb audiences comes from its success in immersing viewers in a primal scenario of predation by a malevolent monster, the shark, which meets the input specifications of evolved anti-predatory mechanisms in the human mind. The monster film compounds the fear of predation with the anxiety of uncertainty and sympathetic fear for protagonists in peril. We never know when the shark will strike, but we are alerted ahead of characters through aesthetic means, such as the film’s soundtrack.

This chapter uses the film Iron Jawed Angels (2004) to set the stage for a discussion of physician participation in torture. The film tells the story of the struggles and persecution of World War I-era suffragettes led by Alice Paul and Lucy Burns, who advocated a Constitutional Amendment granting women the right to vote. Paul and other suffragettes were unlawfully incarcerated for picketing in front of the White House, and were subjected to mental and physical abuse during their incarceration. Paul brought attention to their unjustified detention and maltreatment by going on a hunger strike. To prevent the public scandal that would follow Paul's death, government officials ordered her to be force-fed. Considering the ill-treatment of suffragettes is both a way of recognizing the cruel and degrading nature of force-feeding and of better understanding international struggles for human rights and the prohibition of torture. Above all, their story illustrates the crucial role physicians must play in these struggles by refusing to facilitate torture and honoring their professional commitment to protect their patients from harm and injustice.