The performances in these Critical Acts de-privilege the visual aspect of the performer-audience relationship, instead focusing on the materiality of the encounter. In The City Itself, the performance group Skewed Visions departs from site-specific performance to engage in an examination of the physical and metaphysical properties of various locales; and in The Courtesan Tales, Nicole Blackman tells erotic tales to a bound audience-of-one, challenging

In my essay I propose that this author's dramatic works, unpublished during his lifetime, can be properly assessed not according to their aesthetic properties or their stageability, but only as dramatizations understood in the sense of actualization, or discursive staging, of an idea. As a case in point, I take several of Kharms's works on the theme of the Fall from grace as dramatization of the idea of anthology as a conceptual field that includes not only the works, but also the body of the author himself.

INTRODUCTION The authors analyze contemporary methods of contraception. Regarding oral contraception, they point to agents which decrease the efficacy of oral contraception. They also deal with agents which increase the level of estrogen, thus increasing side effects (paracetamol, vitamin C). ORAL CONTRACEPTIVES Oral contraceptives may also have an impact on the efficacy of some medications (anticonvulsants, antidepresants). Health risks of oral contraceptives are also mentioned, as well as WHO's, guidelines for women using contraceptives based on risks and benefits. OTHER METHODS OF CONTRACEPTION The authors also offer criteria for use of bioactive intrauterine devices (IUD), with recommendations of WHO. Besides men's, there are women's condoms, which are very reliable protection against infections, but their negative side is that they are rather expensive. Bad sides of vaginal wash are also emphasized, although this method is rather widespread in the world. CONCLUSION At the end, the authors quote the Internationa Family Planning Fund (IFPF) which considers IUD to be the most reliable method of contraception nowadays.

Among proto-situationist visual works, Ansger Jorn and Guy Debord’s Fin de Copenhague () is distinguished by its radical approach to cartography. While in The Naked City () Debord takes fragments of a city map and conjoins them with arrows that indicate jumps from one area to another, in Fin de Copenhague the map almost disappears in the labyrinth of visual poetry, collage, and modifications of readymade visual material. The end result is not illegibility, but a shortcircuiting of different technologies of reading: the text reads like a map, collage like a text, and map like a drip painting. The title, Fin de Copenhague, which seems to underline the cartographic approach, can be read as the pronouncement of the end of the city understood as a unified utilitarian organism; however, it also suggests the abolition of city planning in terms of center and periphery. It is a call for a city that has no single center of gravity, but instead consists only of ends, edges, corners, particular locales as unique places of intimacy. In a word, Fin de Copenhague is the personal cartography of the city, which Debord in his  text “Introduction to a Critique of Urban Geography” defined as “psychogeography”: “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.” Therefore:

people of color. An angry Brian Freeman (“When We Were Warriors”) challenges his black community: “Why do we other each other so in a community of others?” (250). Randy Gener (“The Kids Stay in the Picture, or, Toward a New Queer Theater”) offers hope with School’s OUT, a public program in New York City that brings together queer teenagers of color with theatre professionals to “explore the thistly themes in their lives—coming out, race, loneliness, sex, dreams and fears of the future, homophobia, racism, and AIDS—through art” (255). Another key tension running through the volume concerns the functions of queer theatre. Whereas coauthors David Román and Tim Miller (“ ‘Preaching to the Converted’ ”) attest to its power to forge community amid political struggle, David Savran (“Queer Theater and the Disarticulation of Identity”) emphasizes its capacity to destabilize and disarticulate identity. Savran claims that “the necessity of multiple identifications and desires that theatre authorizes—across genders, sexualities, races, classes—renders it both the most utopian form of cultural production and the queerest” (164). So, Savran asks, why not include John Guare, Mac Wellman, and Suzan Lori-Parks among queer theatre’s luminaries? His query prompts another, one not pursued in the volume’s modern and contemporary coverage: What about the community-building and disarticulating operations of queerness and same-sex desire in ostensibly “straight,” more conventionally canonical theatre? But when it comes to defining the lubricious boundaries of queer theatre, the volume only deserves credit for raising more questions than it answers. The critical point, made powerfully by all the essays, is that scholars and practitioners of queer theatre must continue to collaborate. In a moving endnote, Carmelita Tropicana evokes the memory of Frank Maya, an actor dying of AIDS backstage at the closing festivities of the 1995 conference. The special ephemerality and perilousness of queer existence onand offstage make this volume’s excellently rendered project of documentation through performance, writing, and publication not only admirable and necessary but urgent.

Malevich is on a roll, and everything suggests that the resurging interest in his work has just reached its high point. It began in Russia, where over the past decade the art historians caught up with their own past with commendable quickness and rigor: the publication of Kazimir Malevich's complete writings in five volumes under the editorship of Aleksandra Shatskikh is certainly a groundbreaking achievement, and Yevgenia Petrova's work on Malevich's legacy in the stacks of the Russian Museum in Leningrad is no less significant. In France, the publication of Andrei Nakov's catalogue raisonné of Malevich was followed by the major exhibition staged at the Musée d'art moderne de la Ville de Paris.

We report a case of blood-borne metastatic breast disease of small-cell lung cancer in a 44-year-old patient with no previous history of malignancy. The possibilities of MR in the early detection of breast metastases and their appearance on MR images are discussed. Metastases to the breast should be considered when MR mammography of the breast reveals multiple, bilateral, well-defined lesions with ring enhancement and wash-out pattern.

We report a case of blood-borne metastatic breast disease of small-cell lung cancer in a 44-year-old patient with no previous history of malignancy. The possibilities of MR in the early detection of breast metastases and their appearance on MR images are discussed. Metastases to the breast should be considered when MR mammography of the breast reveals multiple, bilateral, well-defined lesions with ring enhancement and wash-out pattern.

The authors present urogenital and rectogenital fistulas treated at the Department of Obstetrics and Gynecology in Novi Sad in the period from 1976 to 1999. The study comprised 28 cases of fistula out of which 17 were vesicovaginal, 3 ureterovaginal, 1 vesicorecto vaginal and 7 recto vaginal. During the investigated period there were 182 Wertheim operations, 3864 total abdominal hysterectomies, 1160 vaginal hysterectomies and 7111 cesarean sections. The vesicovaginal fistulas were most frequent with the incidence of 0.33%, whereas the tocogenic fistulas did not occur. Urogenital fistulas secondary to radical hysterectomy are extremely rare thanks to the administered measures of prevention during the surgical procedure.

In the last decades of the twentieth century, J. L. Austin's performative speech act theory emerged as one of the most passionately contested philosophical ideas.1 There are many reasons for this. One of the most significant is that a performative speech act reintroduces the referent into linguistics: it brings language, so to speak, back to the body and to the stormy question of identity. The general performative speech act theory oversteps the disciplinary boundaries of analytical philosophy and enters the domains of poststructuralist theory, feminist theory, and, of course, performance theory, to name some. This is, in part, due to the brilliant clarity and simplicity of Austin's idea to "isolate" utterances "in which by saying something or in saying something we are doing something."2 The other source of what seems to be the unending actuality of Austin's theory is the way in which, not so brilliantly, he excludes certain performative utterances: "a performative utterance will, for example, be in a peculiar way hollow or void if said by an actor or spoken in a soliloquy . . . Language in such circumstances is in a special way?intelligibly?used not seriously, but in ways parasitic upon its normal use?ways which fall under etiolations of language" (22, italics in the original). Paradoxically, this attempt to exclude literature from the theory of performative speech acts attracts literary critics, and rightfully so; the performative speech act theory not only introduces "plain speech" to philosophy but also establishes powerful connections between literature and its surroundings, between writer and reader, or writer and critic. That is, until we hit upon Austin's

Abdominal sling surgery is defined as attachment of either the connective tissue graft (fascia lata) or some synthetic material (Mersilene) to the anterior wall of the exposed vaginal vault following total hysterectomy or to the posterior wall of the uterine cervix in total and subtotal uterine prolapse, whereas the other end is attached to the anterior longitudinal ligament extending along the anterior surface of the vertebrae. Our analysis comprised 45 operations: 20 cases of vaginal vault prolapse following vaginal hysterectomy; 7 cases of vaginal vault prolapse following HTA: 2 cases of prolapse following subtotal hysterectomy; 3 cases of nondefined TH; 2 cases following Burch operation; 1 following Kocher; 1 following Manchester, 1 following Neugebauer-Le Fort operation in which HTA was performed 2 times. Abdominal sling operation was associated with the following surgical procedures: sling in 13 cases, sling + douglasorrhaphy in 16 cases, sling + douglasorrhaphy + colpoperineoplastics in 6 cases, sling + colpoperineoplastics in 9 cases and sling + marshall marcetti in 1 case. Recurrence of enterocele was recorded in 5 patients in whom closure of the douglas pouch had not been performed. This procedure was therefore later included into our approach to the operation. The abdominal sling operation has been a logical and physiologic approach to surgical therapy of genital prolapse, particularly of the vaginal vault prolapse following total hysterectomy. This operation ensures subsequent normal sexual relations.