Waller Sudden Attack Na 2012
Anastacia Iacono
Every day veterinarians across the country see hundreds of cases of laminitis, a painful disease which affects the horse's feet. What's especially alarming is that some cases are preventable. In fact, it may be that we are killing our horses with kindness.
Laminitis results from the disruption (constant, intermittent, or short-term) of blood flow to the sensitive and insensitive laminae. These laminae structures within the foot secure the coffin bone (the wedge-shaped bone within the foot) to the hoof wall. Inflammation often permanently weakens the laminae and interferes with the wall/bone bond.
In severe cases, the bone and the hoof wall can separate. In these situations, the coffin bone may rotate within the foot, be displaced downward ("sink") and eventually penetrate the sole. Laminitis can affect one or all feet, but is most often seen in the front feet concurrently.
The terms "laminitis" and "founder" are used interchangeably. However, founder usually refers to a chronic (long-term) condition associated with rotation of the coffin bone. Whereas, acute laminitis refers to symptoms associated with a sudden initial attack, including pain and inflammation of the laminae.
While the exact mechanisms by which the feet are damaged remain a mystery, certain precipitating events can produce laminitis. Although laminitis occurs in the feet, the underlying cause is often a disturbance elsewhere in the horse's body. The causes vary and may include the following:
Many horses that develop laminitis make uneventful recoveries and go on to lead long, useful lives. Unfortunately, others suffer such severe, irreparable damage that they are, for humane reasons, euthanized.
Your equine practitioner can provide you with information about your horse's condition based on radiographs (x-rays) and the animal's response to treatment. Radiographs will show how much rotation of the coffin bone has occurred. This will help you make a decision in the best interest of the horse and help the farrier with the therapeutic shoeing.
Importantly, once a horse has had laminitis, it may be likely to recur. In fact, a number of cases become chronic because the coffin bone has rotated within the foot and because the laminae never regain their original strength. There may also be interference with normal blood flow to the feet, as well as metabolic changes within the horse. Extra care is recommended for any horse that has had laminitis, including:
As a full service primary care and referral hospital, we provide specialized surgical, medical, and reproductive services. Our staff of board certified specialists are always happy to discuss cases with referring veterinarians.
So I tried. In Bali, in Biarritz, in the Algarve. I not only learned how to surf (or at least ride a few in) but also how to swim with the waves. On a particularly rough day, my instructor saw me being battered by the waves. He made me dive under them, with board in tow, again and again and again. Somehow, I began to feel a harmony with the noisy waters that had woken me early in the morning, threatening my mortality.
I love the way he highlights this painting as an intertext of several different cultural influences made new. (Hokusai was conversely a strong influence in European Japonism, especially for Claude Monet.)
The aesthetic parallels between Hokusai and Debussy within their respective disciplines are many, as both artists chose style over realism and placed an intense focus on brilliant color and vibrant energy. Just as Japanese art of the Edo period prized decorative motives independent of system or conventional development, so did Debussy have distaste for formal structure, motivic development, and the use of strict musical forms that composers adhered to during the Classical and Romantic periods.
How many romances or mysteries have we seen on the shores of the ocean? Here is a nice list of beach scenes. Less often are films actually out at sea; of course there is the pragmatic issue of shooting as well as the strangeness of spending extended time at sea that conversely makes it an interesting subject when it is tackled.
The pathetic fallacy of the sea reminds us that we are all connected. It reminds us that grief is everywhere and has been since humanity began; the next stanza compares the scene to the same that Sophocles would have experienced millennia ago.
However, you might also feel extreme fear if, for example, you are lost at sea or are battling a mysterious sea creature. The conflicts are with nature but also with the strength and fears within oneself.
Virginia Woolf also takes us to the sea in several novels and short stories. The Waves (UK, 1931) is a novel about a group of young friends growing up and facing grief. The times of day in each chapter correspond with moments of their lives and are figuratively demonstrated by the sea.
The wind rose. The waves drummed on the shore, like turbaned warriors, like turbaned men with poisoned assegais who, whirling their arms on high, advance upon the feeding flocks, the white sheep. (pp. 47-8)
The waves broke and spread their waters swiftly over the shore. One after another they massed themselves and fell; the spray tossed itself back with the energy of their fall. The waves were steeped deep-blue save for a pattern of diamond-pointed light on their backs which rippled as the backs of great horses ripple with muscles as they move. The waves fell; withdrew and fell again, like the thud of a great beast stamping. (pp. 97-98)
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Kathleen Waller is a novelist with a PhD in Comparative Literature. She previously taught literature, cultural studies, art, ethics, and epistemology to high school and university students for twenty years. For more information: kathleenwaller.com
Thank you for this fascinating story about how different art forms interpret the sea. I thought of Fitzgerald, and Tender is the Night, as well as Gatsby. The sea is on the periphery there as a witness to human drama. He also has a beautiful metaphor at the end of Gatsby about how the current always brings us to our past.
I\u2019ve always had a fearful respect for the sea. Growing up in New England, we would often go to beaches on the Atlantic Ocean. It was not the culture to truly swim there; with few exceptions, we merely dipped our toes or ran quickly in and out, unless we found ourselves, for example, on the calm side of Cape Cod on a very hot day. It was simply too cold. And\u2026all of us had seen Jaws\u2026shot on Martha\u2019s Vineyard, the Kennedy-famous island just off Massachusetts.
I probably saw Jaws when I was about 6 or 7, about the same time I was interested in moving deeper into the waves. Maybe it was too young to see it or maybe I would\u2019ve been doomed with those horrific images to haunt me for life at any viewing age, especially considering the real (though infrequent) stories in the local news.
What a great film series. Of course, nobody wants to be eaten by a shark, and even though we know it\u2019s really unlikely, many of us are afraid of this fate. National Geographic claims it\u2019s because we\u2019re afraid of losing control. I guess that\u2019s true. But also: we\u2019re afraid of what we don\u2019t know. The shark attacks in Jaws are metaphors for our fear of the unknown and the miraculous power of nature.
In fact, we don\u2019t even see the shark in Jaws until 21 minutes into the film. This clip above of the first attack doesn\u2019t even show the shark; the invisibility is the fear, because the ocean represents the unknown. Sure, a Great White might pose a real problem if it\u2019s swimming around near surfers or children kicking on floats. Though we know attacks are rare, the deepness and strangeness of the sea that envelopes these massive creatures is as fearful as the predator itself.
Apparently, I\u2019m not the only one who was so affected by this film. In \u201CBefore and After Jaws: Changing Representations of Shark Attacks\u201D (Australian Association for Maritime History, 2012), Beryl Francis explores the shifts in our understanding of sharks, especially great whites. He claims that the movie itself as well as changes in media reporting of attacks in response to the film created more fear but also led to more scientific research and general public knowledge about sharks.
I\u2019m talking a lot about sharks when I meant to start talking about the sea. But how can we capture the beauty of the sea? It seems so clich\u00E9d; I guess I\u2019m avoiding it for that reason. I\u2019ll get back to this idea when we look at literature that engages with it. Film and painting can tackle this problem by just going for an aesthetic reflection without comment. But we can also look at the sea first by what we do on it, in it, and at its shores. What do you do at the sea? What do you think about?
For some reason, I keep thinking about the opening of Calvary (Ireland, 2014) and its gorgeous shots of the Irish coastline. Although the beauty of the waters enters the film several times, it also seems to mimic the turmoil and darkness in the protagonist-priest\u2019s mind.
Interestingly, the opening shot of this film features\u2026surfers! (They have nothing to do with the film directly.) There is something magical about the idea that individuals can tame the beast of the sea with just a small board, and I guess this is what the priest is trying to do with his inner conflict.
The reality of great white sharks in New England didn\u2019t keep the surfers away, but most of us laymen stayed safer and warmer near shore. Even then, our parents taught us about dangers of riptides and fast changing currents. There seemed to be little good that could come from venturing into the water. But later, I lived in Hong Kong where the waves were decidedly smaller in the South China Sea, and the warm beaches were ubiquitous. I learned to swim in the sea. Shark nets helped ease my mind. And I felt a desire to try out surfing.
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