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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 showcases Howard Skempton’s miniature, The Maldive Shark. It is dedicated to his friend, the composer and singer Brian Dennis (1941–98). The captivating text ruminates on the relationship between the shark and the smaller fish that encircle it, as it makes its ponderous progress. The poem’s imagery is often lurid (‘sawpit of mouth’, ‘charnel of maw’) and is laden with alliteration (‘white triple tiers of glittering gates’), giving the singer the opportunity to relish the sounds as they roll off the tongue. Despite all this verbal detail, a seamless overall legato has to be preserved, with notes given their full value. The piece lies comfortably within the baritone’s natural compass, and the vocal dynamic is mezzo piano throughout, so a good degree of tonal control will prove advantageous.

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.

Cranial nerve examination is one of the commonly assessed areas of the nervous system in the MRCPCH clinical examination. The examiner may ask you to examine some of the cranial nerves or just the eye. This guide will take you through a systematic nerve examination, which is followed by most practitioners. You may need to individualize the examination sequence to suit your style. The key competence skills required in the cranial nerve examination are given in table 9.1. Cranial nerves cases commonly encountered in the MRCPCH Clinical Exam are listed in table 9.2. Causes of the different cranial nerve lesions are given in table 9.3. These steps are repeated in every system to reiterate their importance and to help you recollect the initial approach of any clinical exam. Also refer to chapter 4. • On entering the examination room, demonstrate strict adherence to infection control measures by washing your hands or by decontaminating them with alcohol rub. • Introduce yourself both to the parents and the child. • Talk slowly and clearly with a smile on your face. • Establish rapport with the child and parents. • Ensure privacy. • Positioning: examine the older child while they sit on the edge of the bed or on a chair. It is preferable to examine the younger child on a parent’s lap rather than on a couch, as this can cause much anxiety. The aim of the visual survey is to capture every available clue, which may help you to reach the correct diagnosis. • Look at the child and try to estimate their approximate age. • Always consider whether the findings combine to form a recognizable clinical syndrome. Common syndromes with cranial nerve involvement include Aicardi’s syndrome, Angelman’s syndrome, Arnold–Chiari malformation, Crouzon’s syndrome, Lesch–Nyhan syndrome, Sturge–Weber syndrome, and Werdnig–Hoff man disease.

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.

When bob wright awoke on Sunday March 1, 1970, he didn’t feel like getting in a boat. He had attended a wedding reception late into the previous night, and the morning in Victoria had broken cold and blustery. But he had promised to show his whale-catching operation to Don White, Paul Spong’s former research assistant. Wright already had an orca at his new oceanarium, Sealand of the Pacific, but he was keen to try his hand at capture, and he especially hoped to trap an albino killer whale often seen in local waters. When White and a friend arrived for the excursion, however, Wright wasn’t feeling very eager. “Bob is totally hung over, but he is feeling responsible,” White recalled. “He has told me to come, so he feels like we’ve got to do it.” Along with trainer Graeme Ellis, the three men piled onto Wright’s twenty-foot Bertram runabout and started for Pedder Bay. As the boat rounded Trial Island and cruised west past Victoria, the sea became choppy and Wright grew queasier. But minutes later, as they approached Race Rocks, he forgot all about his hangover. “Fuck!” he yelled. “It’s the white whale!” Sure enough, a group of orcas with what appeared to be an albino member was passing Bentinck Island and heading straight for Pedder Bay. The sighting was lucky, but the timing awful. Wright wasn’t set for a capture that day. His seine nets were in storage, and at first he couldn’t hail any of his Sealand staff. Determined not to let this opportunity pass, he gunned the Bertram into the bay and made straight for the Lakewood—a charter fishing boat he had rigged for orca catching. As Wright gathered his crew on the vessel, the excitement was palpable. “We were playing macho whale hunters,” White reflected, “and Bob Wright was our Captain Ahab.” With only one light net on board, the operation would have to be perfect, and everyone watched anxiously as the whales lingered near the mouth of Pedder Bay. Finally, as the sun began to set, the orcas entered.

Ted griffin awoke with a start, but he wasn’t sure why. It was a warm night in August 1970, and all seemed calm and quiet. Water lapped against the boat’s hull as the lights of Coupeville flickered a mile and a half away. Yet something wasn’t right. The breathing of the whales behind the capture nets sounded clipped and nervous. “How long have they been blowing that way?” he asked the two men on watch. “Blowing? What way?” they answered. “All night I guess.” Straining his eyes in the dark, Griffin scanned the enormous pen, anchored just off the old Standard Oil dock. Everything seemed to be in order—except on the north side. The marker lights there were too far apart. He roused Goldsberry, and the partners jumped into a skiff to investigate. When they reached the floating lights, Griffin stared down at a loose cork line, puzzled. The net looked split. “Not split—cut!” yelled Goldsberry. “And in more than one place.” Griffin couldn’t believe it. Suddenly the orcas’ anxious breathing made sense. During the night, someone had slashed a section of the net. Large portions of loose mesh now drifted in the current, threatening to drown any whales nearby. Griffin and Goldsberry shouted for their crew, and in the following hours everyone worked feverishly in the dark—reattaching lines, mending mesh, anchoring nets. Had they reacted in time? Had the animals managed to avoid danger? Griffin needed to find out. Donning his wetsuit, he slipped over the cork line and into Penn Cove’s murky waters. At first, he was hopeful. All the whales seemed to be swimming near the surface. But a moment later, his eye caught a shimmer of white—perhaps a shark caught in the net? No, it was a tiny orca calf, no more than eight feet long. Ensnared in a floating portion of mesh, the little whale hung lifeless, head down. Other divers found two more, also calves. Initially, Griffin felt only nausea, but that soon gave way to rage. He wanted to lash out at those responsible.

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.

Sulfuric acid also made possible the other revolutionary lighting technology of the nineteenth century: lucifer friction matches. Those phosphorus matches, incredibly cheap, found their way into the hands of the highest and the lowest, everyone now a strike or a jostle away from producing instant, useful, but also potentially devastating flames. Using thousands of tons of coal and sulfuric acid, European chemical manufacturers extracted hundreds of tons of elemental phosphorus from the mountains of bones left in the wake of the slaughter of Pampas cattle in the South American port cities of the Río de La Plata and, later, from phosphates mined on West Indian guano islands. In American cities, thousands of child workers used that European phosphorus to mass-produce incredibly cheap lucifer matches, a process that starkly illustrated the hidden politics and slow violence of producing the means of light. Struggling to work and, even more pressingly, to live in the inescapable ecology of toxic phosphorus, lucifer-making children attempted to change work environments and win powerful allies, all while trying to survive and mitigate an agonizing, degenerative, disfiguring illness from phosphorus poisoning they called “the compo” and officials called “the jaw disease.”