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Judeo-Christian
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This article is about the term grouping Judaism and Christianity. For the 20th-century American concept of common values shared between the two religions, see Judeo-Christian ethics. For modern Christians who retain a Jewish identity, see Messianic Judaism. For converts from Judaism to early Christianity, see Jewish Christian. For the intersection in general of Judaism with Christianity, see Christianity and Judaism.
It has been suggested that Judeo-Christian ethics be merged into this article. (Discuss) Proposed since May 2017.
It has been suggested that this article be merged into Christianity and Judaism. (Discuss) Proposed since May 2017.
Judeo-Christian is a term that groups Judaism and Christianity, either in reference to Christianity's derivation from Judaism or due to perceived parallels or commonalities shared between those two religions.[citation needed]. The term became prevalent towards the middle of the 20th century in the United States to link broader principles of Judeo-Christian ethics such as dignity of human life, adherence to the Abrahamic Covenant, common decency, and support of traditional family values.[1]
The concept of "Judeo-Christian values" in an ethical (rather than theological or liturgical) sense was used by George Orwell in 1939, with the phrase "the Judaeo-Christian scheme of morals."[2] It has become part of the "American civil religion" since the 1940s.
The term "Abrahamic religions" is used to include Bahá'ísm, Islam, Druze etc. as well as Judaism and Christianity.[3]
Contents
[hide]
1 History of the term
2 Theology and religious law
2.1 Inter-group relations
2.2 Jewish responses
2.3 Role of Islam
3 See also
4 References
5 Further reading
6 External links
History of the term[edit]
The term is used, as "Judæo Christian", at least as far back as in a letter from Alexander M'Caul dated October 17, 1821.[4] The term in this case referred to Jewish converts to Christianity.[5] The term is used similarly by Joseph Wolff in 1829, referring to a style of church that would keep with some Jewish traditions in order to convert Jews.[6]
Use of the German term Judenchristlich ("Jewish-Christian"), in a decidedly negative sense, can be found in the late writings of Friedrich Nietzsche, who emphasized what he saw as neglected aspects of continuity between the Jewish world view and that of Christianity. The expression appears in The Antichrist, published in 1895 and written several years earlier; a fuller development of Nietzsche's argument can be found in a prior work, On the Genealogy of Morality.
Theology and religious law[edit]
Further information: Biblical law in Christianity and New Covenant
Christianity inherits the notion of a "covenant" from Second Temple Judaism, in the form of the Old Testament. Two major views of the relationship exist, namely New Covenant theology and Dual-covenant theology. In addition, although the order of the books in the Protestant Old Testament (excluding the Biblical apocrypha) and the Tanakh (Hebrew Bible) differ, the contents of the books are very similar.[7]
The Christian Old Testament is, thus, Jewish scripture, and it is used as moral and spiritual teaching material throughout the Christian world.
The prophets, patriarchs, and heroes of the Jewish scripture are also known in Christianity, which uses the Jewish text as the basis for its understanding of biblical figures such as Abraham, Elijah, and Moses. As a result, a substantial amount of Jewish and Christian teachings are based on a common sacred text.
Inter-group relations[edit]
Further information: Antisemitism in the United States
Promoting the concept of United States as a Judeo-Christian nation based upon Judeo-Christian ethics first became a political program in the 1940s, in response to the growth of anti-Semitism in America. Jews played a small role in that but the rise of anti-semitism in the 1930s led concerned Protestants, Catholics, and Jews to take steps to increase mutual understanding and lessen the high levels of anti-semitism in the United States.[8]
In this effort, precursors of the National Conference of Christians and Jews created teams consisting of a priest, a rabbi, and a minister, to run programs across the country, and fashion a more pluralistic America, no longer defined as a Christian land, but "one nurtured by three ennobling traditions: Protestantism, Catholicism and Judaism....The phrase 'Judeo-Christian' entered the contemporary lexicon as the standard liberal term for the idea that Western values rest on a religious consensus that included Jews."[9]
Through soul-searching in the aftermath of the Holocaust, "there was a revolution in Christian theology in America. […] The greatest shift in Christian attitudes toward the Jewish people since Constantine converted the Roman Empire."[10] The rise of Christian Zionism—that is, religiously motivated Christian interest and support for the state of Israel—along with a growth of philo-Semitism (love of the Jewish people) has increased interest among American Evangelicals in Judaism, especially areas of commonality with their own beliefs (see also Jerusalem in Christianity). During the late 1940s, Evangelical proponents of the new Judeo-Christian approach lobbied Washington for diplomatic support of the new state of Israel. The Evangelicals have never wavered in their support for Israel. On the other hand, by the late 1960s Mainline Protestant denominations and the National Council of Churches were showing more support for the Palestinians than for the Israelis.[11] Interest in and a positive attitude towards America's Judeo-Christian tradition has become mainstream among Evangelicals.[12]
The scriptural basis for this new positive attitude towards Jews among Evangelicals is Genesis 12:3, in which God promises that He will bless those who bless Abraham and his descendants, and curse those who curse them (see also "Abrahamic Covenant"). Other factors in the new philo-Semitism include gratitude to the Jews for contributing to the theological foundations of Christianity and for being the source of the prophets and Jesus; remorse for the Church's history of anti-Semitism; and fear that God will judge the nations at the end of time on the basis of how they treated the Jewish people. Moreover, for many Evangelicals Israel is seen as the instrument through which prophecies of the end times are fulfilled.[13] Great numbers of Christian pilgrims visit Israel, especially in times of trouble for the Jewish state, to offer moral support, and return with an even greater sense of a shared Judeo-Christian heritage.[citation needed]
Jewish responses[edit]
Response of Jews towards the "Judeo-Christian" concept has been mixed. In the 1930s, "In the face of worldwide antisemitic efforts to stigmatize and destroy Judaism, influential Christians and Jews in America labored to uphold it, pushing Judaism from the margins of American religious life towards its very center."[14] During World War II, Jewish chaplains worked with Catholic priests and Protestant ministers to promote goodwill, addressing servicemen who, "in many cases had never seen, much less heard a Rabbi speak before." At funerals for the unknown soldier, rabbis stood alongside the other chaplains and recited prayers in Hebrew. In a much publicized wartime tragedy, the sinking of the Dorchester, the ship's multi-faith chaplains gave up their lifebelts to evacuating seamen and stood together "arm in arm in prayer" as the ship went down. A 1948 postage stamp commemorated their heroism with the words: "interfaith in action."[9]
In the 1950s, "a spiritual and cultural revival washed over American Jewry" in response to the trauma of the Holocaust.[9] American Jews became more confident to be identified as different.
Two notable books addressed the relations between contemporary Judaism and Christianity, Abba Hillel Silver's Where Judaism Differs and Leo Baeck's Judaism and Christianity, both motivated by an impulse to clarify Judaism's distinctiveness "in a world where the term Judeo-Christian had obscured critical differences between the two faiths."[15] Reacting against the blurring of theological distinctions, Rabbi Eliezer Berkovits wrote that "Judaism is Judaism because it rejects Christianity, and Christianity is Christianity because it rejects Judaism."[16] Theologian and author Arthur A. Cohen, in The Myth of the Judeo-Christian Tradition, questioned the theological validity of the Judeo-Christian concept and suggested that it was essentially an invention of American politics, while Jacob Neusner, in Jews and Christians: The Myth of a Common Tradition, writes, "The two faiths stand for different people talking about different things to different people."[17]
Law professor Stephen M. Feldman looking at the period before 1950, chiefly in Europe, sees religious conflict as supersessionism:
Once one recognizes that Christianity has historically engendered antisemitism, then this so-called tradition appears as dangerous Christian dogma (at least from a Jewish perspective). For Christians, the concept of a Judeo-Christian tradition comfortably suggests that Judaism progresses into Christianity—that Judaism is somehow completed in Christianity. The concept of a Judeo-Christian tradition flows from the Christian theology of supersession, whereby the Christian covenant (or Testament) with God supersedes the Jewish one. Christianity, according to this myth, reforms and replaces Judaism. The myth therefore implies, first, that Judaism needs reformation and replacement, and second, that modern Judaism remains merely as a "relic". Most importantly the myth of the Judeo-Christian tradition insidiously obscures the real and significant differences between Judaism and Christianity.[18]
Role of Islam[edit]
Further information: Abrahamic religions
Advocates of the term "Abrahamic religion" since the second half of the 20th century have proposed a hyper-ecumenicism that emphasizes not only Judeo-Christian commonalities but that would include Islam as well (the rationale for the term "Abrahamic" being that while only Christianity and Judaism give the Hebrew Bible (Old Testament) the status of scripture, Islam does also trace its origins to the figure of Abraham as the "first Muslim").
Advocates of this umbrella term consider it the "exploration of something positive" in the sense of a "spiritual bond" between Jews, Christians, and Muslims.[19]
See also[edit]
Abrahamites
British Israelism
Israel–United States relations
Judeo-Christian-Islamic
Law and Gospel
Western culture
References[edit]
Jump up ^ https://www.sermoncentral.com/content/Richard-Lee-7-Principles-Judeo-Christian-Ethic?ac=true&csplit=9060
Jump up ^ Orwell, George (2017-02-04). George Orwell: An age like this, 1920-1940. David R. Godine Publisher. p. 401. ISBN 9781567921335.
Jump up ^ Aaron W. Hughes (2012). Abrahamic Religions: On the Uses and Abuses of History. Oxford University Press. pp. 71–75.
Jump up ^ "From all I can see there is but one way to bring about the object of the Society, that is by erecting a Judæo Christian community, a city of refuge, where all who wish to be baptized could be supplied with the means of earning their bread." M'Caul, Alexander (1820–1821). "Extract of a Letter From Mr. M'Caul". The Jewish Expositor, and Friend of Israel. V: 478.
Jump up ^ Judæo-, Judeo- in the Oxford English Dictionary, Second Edition. Accessed online 2008-07-21
Jump up ^ Wolff, Joseph (1829). Missionary Journal of the Rev. Joseph Wolff, Missionary to the Jews. III. London: James Duncan. p. 314.
Jump up ^ The differences are because Rabbinic Judaism uses the Masoretic Text while Protestant Old Testaments are translations of the Masoretic Text that also incorporate the Septuagint and other readings, for example see Isaiah 7:14.
Jump up ^ Sarna, Jonathan. American Judaism, A History (Yale University Press, 2004. p. 266)
^ Jump up to: a b c Sarna, p. 267
Jump up ^ Brog, David. Standing With Israel. 2006.p.13
Jump up ^ Caitlyn Carenen, The Fervent Embrace: Liberal Protestants, Evangelicals, and Israel (2012)
Jump up ^ Paul Charles Merkley, Christian Attitudes Towards the State of Israel (McGill-Queen's University Press, 2007)
Jump up ^ Evangelicals and Israel: The Story of Christian Zionism by Stephen Spector, 2008
Jump up ^ (Sarna, p.267)
Jump up ^ Sarna, p281
Jump up ^ Disputation and Dialogue: Readings in the Jewish Christian Encounter, Ed. F. E. Talmage, Ktav, 1975, p. 291.
Jump up ^ Jacob Neusner (1990), Jews and Christians: The Myth of a Common Tradition. New York and London: Trinity Press International and SCM Press. p. 28
Jump up ^ Stephen M. Feldman (1998), Please Don't Wish Me a Merry Christmas: A Critical History of the Separation of Church and State
Jump up ^ Aaron W. Hughes (2012). Abrahamic Religions: On the Uses and Abuses of History. Oxford University Press. pp. 57–75.
Further reading[edit]
Bobrick, Benson. Wide as the Waters : The Story of the English Bible and the Revolution It Inspired. Simon & Schuster 2001. ISBN 0684847477
Paula Fredriksen. From Jesus to Christ: The Origins of the New Testament Images of Christ, Yale University Press, ISBN 978-0300084573
Hexter, J. H. The Judaeo-Christian Tradition (Second Edition). Yale University Press, 1995; ISBN 978-0300045727
McGrath, Alister. In the Beginning: The Story of the King James Bible and How It Changed a Nation, a Language, and a Culture. Anchor Books, 2002. ISBN 0385722168.
External links[edit]
Wikiquote has quotations related to: Judeo-Christian
Look up Judeo-Christian in Wiktionary, the free dictionary.
What does 'Judeo-Christian' mean? by Dennis Prager
The Episcopal-Jewish Alliance for Israel issuing from the headquarters of the Episcopal Diocese of Massachusetts
Institute for Jewish Christian Understanding of Muhlenberg College
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Bret McKenzie
Production code
106
Original air date
22 July 2007
Guest appearance(s)
Frank Wood (Greg)
David Costabile (Doug)
John Hodgman (David Armstrong)
Episode chronology
← Previous
"Sally Returns" Next →
"Drive By"
"Bowie" is the sixth episode of the HBO comedy series Flight of the Conchords. The episode first aired in the United States on Sunday, 22 July 2007.
After a photo session, Bret develops body image issues and gets some dream advice from his idol, David Bowie. Jemaine plots to cheer him up and Murray tries to get one of the band's tunes used for a musical greeting card.
Contents
1 Plot
2 Songs
2.1 "Bret, You've Got It Going On"
2.2 "Bowie"
3 Cultural references
4 References
Plot[edit]
Bret starts suffering body image issues after Murray accuses him of being small during a photo session. He then gets visited in a dream by a Ziggy Stardust-era David Bowie (performed by Jemaine, whose resemblance is acknowledged by Bret) telling him not to worry about his body image and advising him to get an eyepatch.
Murray announces that he has arranged a meeting with a company who are interested in using one of the band's songs in a musical greeting card. Jemaine visits Mel and asks her to cheer Bret up complimenting him next time she sees him. Later Jemaine tries to cheer Bret up himself by singing him a song he has written, "Bret, You've Got It Going On".
After Bowie's eyepatch suggestion causes accidents, Bret is visited again in a dream, this time by Bowie dressed as he appears in the "Ashes to Ashes" music video. Bowie advises him to do something "absolutely outrageous" when the "time is right". The next day they see Mel on the street who compliments Bret profusely at the expense of Jemaine who now starts to doubt his own body image.
At the greeting card meeting the owner, David Armstrong (played by John Hodgman), tries to explain the workings of the audio card to technically challenged Murray, Jemaine and Bret. When Armstrong says that he feels that the band are not really interested in the opportunity, Bret sees it as the cue to do something outrageous. He leaps onto the manager's desk and exposes himself, featuring "lightning bolts down his wanger." On the bus ride home, Murray and Jemaine express their disappointment with Bret for ruining the business opportunity and Murray becomes depressed that his management skills were not good enough to prevent the incident or spin it well.
That night Bret gets visited again. This time it is Bowie as Jareth the Goblin King from the movie Labyrinth. A disappointed Bowie tells Bret that he is out of advice and has lost confidence in his ability to help people. The scene ends with a song and music video, "Bowie", that mimics various performance styles and roles from David Bowie's career.
Later, Bret drinks a cup of coffee with Jemaine and Dave (Arj Barker) outside of Dave's pawn shop, where he concludes that if even David Bowie sometimes loses self-confidence, then he should not have to be so insecure about his body image. Murray arrives and tells them that despite the disastrous meeting, the greeting card company decided to produce the card anyway, but because the chosen design is "Happy 80th Birthday, Son" very few cards are made and the band ends up earning only 50¢.
Songs[edit]
This episode features the following songs, both adapted from previous material by the duo:
"Bret, You've Got It Going On"[edit]
Jemaine sings "Bret, You've Got It Going On"[1] to Bret as a way to cheer him up after he starts to feel insecure about his body. The song is meant as a tribute to Bret, although Jemaine insecurely asserts throughout the song that he is not gay and has no physical attraction to Bret, and concludes with Jemaine revealing that he once put a wig on Bret while he was sleeping in the same bed with him and pretended Bret was a woman.
The song is one of the few in the television series to have no accompanying montage or fantasy sequence and is performed primarily by Jemaine on guitar and vocals. It had previously been used in the second episode of the Flight of the Conchords radio series and was later released as an iTunes-only bonus track for pre-orders of their soundtrack album.
"Bowie"[edit]
"Bowie"[2][3] (a.k.a. "Bowie's in Space"[1]) begins after Bret's last dream encounter with David Bowie. It is a parody of the many musical styles and visual aesthetics that Bowie has used in his career and features a long fantasy sequence that takes place in outer space.
Bowie performing "Rebel Rebel" on AVRO's TopPop.
The song mimics the style of "Space Oddity", "John, I'm Only Dancing", "Let's Dance" and "Sound and Vision" and also briefly references "Changes" and "Life on Mars?" in the lyrics.
The accompanying music video includes imagery from many aspects of David Bowie's career, including elements of the original video for "Space Oddity" from his 1969 promotional film Love You till Tuesday and Bowie's costume from his 1974 appearance on AVRO's TopPop performing "Rebel Rebel", as well as references to his interests in mime and sci-fi imagery. The extreme close-ups and profile images of Bret and Jemaine's faces against black backgrounds are similar to those of David Bowie and Candy Clark in The Man Who Fell to Earth.
During the credits, a reprise of the song plays featuring a short clip mimicking the music video to "Let's Dance".
Cultural references[edit]
Bret is reading a magazine called "Novelty Music Scene", early in the episode. On the cover is "Weird Al" Yankovic. When Murray shows the duo their photo that was featured in the magazine, the caption reads "New Zealand Novelty Duo: Tenacious Dundee?". This is a reference to another famous comedy musical pairing Tenacious D, and also to Crocodile Dundee, a fictional character created by Australian filmmaker Paul Hogan.
When David Bowie visits Bret for a second time, Bret tells him that his previous suggestion of wearing an eyepatch caused him to lose his depth perception. David Bowie had limited depth perception due to an eye injury that caused his left pupil to remain permanently and visibly dilated. David Bowie had worn an eyepatch in accompanying promotional videos for his songs "Rebel Rebel" and "Little Wonder". Also, this could be a reference to one of Bowie's stage personas Halloween Jack, who wore an eye patch, from the album Diamond Dogs. Bret also later dresses like Halloween Jack in the video for Bowie's in space. The robot on the birthday card is a robot from the Doctor Who serial Robot.
The space-helmet-wearing band that appears during the bridge of "Bowie" is a reference to the 1977 video for "Magic Fly" by the French electronic music band Space.
There is a Sub Pop sticker on Bret's guitar case.
References[edit]
^ Jump up to: a b Lyrics from Episode 6: "Bowie". Official HBO Website
Jump up ^ "Track listing of Folk the World Tour album". Archived from the original on 9 May 2008. Retrieved 17 March 2016.
Jump up ^ Lyrics for Folk the World Tour album What the Folk! website
show
v
t
e
Flight of the Conchords
Jemaine Clement
Bret McKenzie
Albums
Folk the World Tour
The Distant Future
Flight of the Conchords
I Told You I Was Freaky
TV series
Episodes
Season 1
"Sally"
"Bret Gives Up the Dream"
"Mugged"
"Yoko"
"Sally Returns"
"Bowie"
"Drive By"
"Girlfriends"
"What Goes on Tour"
"New Fans"
"The Actor"
"The Third Conchord"
Season 2
"A Good Opportunity"
"The New Cup"
"The Tough Brets"
"Murray Takes It to the Next Level"
"Unnatural Love"
"Love Is a Weapon of Choice"
"Prime Minister"
"New Zealand Town"
"Wingmen"
"Evicted"
Related articles
Radio series
show
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t
e
Major Tom
Songs
Space Oddity (1969, David Bowie)
Rocket Man (1972, Elton John)
Ashes to Ashes (1980, David Bowie)
Major Tom (1983, Peter Schilling)
Major Tom, Part II (1983, Peter Schilling)
Hallo Spaceboy (1995, David Bowie)
Mrs. Major Tom (2003, K.I.A.)
Blackstar (2015, David Bowie)
Albums
Seeking Major Tom (2011, William Shatner)
Video
Love You till Tuesday (1984, David Bowie)
Bowie's in Space (2007, Flight of the Conchords)
ISS expedition 35 Space Oddity (2013, Chris Hadfield)
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Clinical research coordinator
From Wikipedia, the free encyclopedia
Jump to: navigation, search
A Clinical Research Coordinator (CRC) is a person responsible for conducting clinical trials using good clinical practice[1] (GCP) under the auspices of a Principal Investigator (PI).
Good clinical practices principles have been defined by Madelene Ottosen, RN, MSN, of The University of Texas Health Science Center at Houston [2] as:
Trials are conducted ethically, as defined by the Declaration of Helsinki, rigorously, as defined by the International Conference on Harmonization Guidelines (ICH).[3]
Benefits outweigh risks for each patient.
Rights, safety and well-being of patients prevail over science.
All available non-clinical and clinical information on any investigational agent can support the trial as designed.
All trials are scientifically sound and clearly described.
All clinical trials have current Institutional Review Board approval.
Medical decisions and care are the responsibility of qualified health care professionals, specifically physicians and, if applicable, dentists.
Everyone involved in the clinical trial is qualified by training, education and experience.
Informed consent is given freely by every participant.
All study documentation is recorded, handled and stored to allow accurate reporting, interpretation and verification.
Confidentiality of subjects is respected and protected.
Investigational products maintain Good Manufacturing Practice in storage, manufacturing and handling.
Systems to ensure quality are implemented in all aspects of the trial.
The PI is responsible for the conduct of the trial, however, "it has been said that the CRC is the heart and soul of the research study and that, ultimately, it is the CRC who carries forward the research goals, thereby playing a significant role in the success of the research study. Most importantly, CRCs are often involved in essential duties that have been traditionally performed by the PI, such as conducting the informed consent process and ensuring compliance with the protocol."[4] The CRC's primary responsibility, as with all clinical research professionals, is the protection of human subjects, but the CRC has many other responsibilities. Although not inclusive, some of the CRC responsibilities include preparing the Institutional Review Board submission, writing the informed consent document, working with the institutional official in contract negotiations, developing a detailed cost analysis, negotiating the budget with the Sponsor (i.e., pharmaceutical company or granting agency), subject recruitment, patient care, adverse event reporting, preparing the case report form (CRF), submitting CRFs and other data to the Sponsor as necessary and study close-out.
Contents
[hide]
1 Responsibilities
1.1 Feasibility
1.2 Institutional Review Board submissions
1.3 Informed consent
1.3.1 Additional elements
1.4 Contracting with pharmaceutical companies
1.5 Cost analysis and budget negotiations
1.6 Subject recruitment
1.7 Patient care
1.8 Adverse events
1.9 Case report forms
1.10 Electronic Data Capture
1.11 Processing and shipping of laboratory samples
1.12 Study close
2 See also
3 External links
4 References
Responsibilities[edit]
Feasibility[edit]
A sponsor sends a feasibility questionnaire to the local research site.  The Clinical Research Coordinator completes the form on behalf of the site to determine if the local site has the patient population, support staff, medical facilities, and equipment necessary to successfully carry out the study protocol.

Institutional Review Board submissions[edit]
For more details on this topic, see Institutional Review Board.
All research involving human subjects must be approved by an Institutional Review Board (IRB). Each IRB has protocol submission requirements, which typically involve an IRB application and informed consent document. A study cannot begin without IRB approval.
Informed consent[edit]
The IRB must approve informed consent prior to study initiation, and often the CRC is liaison between the IRB and the sponsor. The sponsor sets informed consent requirements, as does the IRB. Each local IRB must review and approve the informed consent, but the CRC is responsible for communication between the IRB and the sponsor. §46.116 of the Code of Federal Regulations outlines the basic elements of informed consent as a:[5]
Statement that the study involves research, an explanation of research purpose, expected duration of subject's participation, description of procedures, and identification of any experimental procedures
Description of any reasonably foreseeable risk or discomfort to the subject
Description of any benefits to the subject or others that can reasonably be expected
Disclosure of appropriate alternative procedures or courses of treatment, if any, that might be advantageous to the subject
Statement that describes extent, if any, to which confidentiality subject identity is maintained
Explanation (if more than minimal risk to test subject) as to any compensation, medical treatments available if injury occurs and, or where further information is available
List of whom to contact for pertinent questions about the research and subjects' rights, and whom to contact in the event of a research-related injury to the subject
Statement that participation is voluntary, refusal to participate involves no penalty or loss of benefits, and that the subject may discontinue participation at any time without penalty or loss of benefits
Additional elements[edit]
When appropriate, experimenters also tell each subject:
That the particular treatment or procedure may involve unforeseeable risks to the subject (or to an embryo or fetus, if relevant)
Circumstances under which investigator may end subject's participation without subject's consent
Additional costs to the subject that may result from participation in the research
Consequences of subject withdrawing from the research, and procedures for orderly termination of subject participation
That significant new findings during the research that could affect the subject's willingness to continue participation will be provided to the subject
The approximate number of subjects involved in the study
Contracting with pharmaceutical companies[edit]
The site conducting the clinical trial negotiates the clinical trial agreement (CTA) to conform to its policies and procedures. The resolution of many contractual issues requires coordination between the sponsor, the PI and the site, which is usually the responsibility of the CRC. The involvement of each party is essential to a successful CTA with mutually acceptable terms. The CTA should include terms for indemnification, confidentiality, publication, intellectual property, insurance, data safety and monitoring boards, subject injury, governing law and termination clauses.
Cost analysis and budget negotiations[edit]
To develop a cost analysis, the CRC reviews the protocol schema and determine which procedures are standard of care, versus research. Research charges are included in the budget—with personnel effort, site initiation costs, IRB fees throughout the life of the clinical trial, pharmacy costs, travel costs for the PI and CRC to attend investigator meetings, equipment, dedicated fax and computer lines, supplies, screen failures, subject stipends, subject travel costs, and any other items defined as a direct cost to the clinical trial. In addition, if the clinical trial is at an Academic Medical Center (AMC), an indirect cost rate applies to the direct study costs. The indirect rate is approximately 30% for pharmaceutical trials, and can be upwards of 50% for federal trials, depending on the AMC's federally negotiated indirect costs rate [1].
Subject recruitment[edit]
Prior to agreeing to conduct the clinical trial, the CRC (and the PI) determine if they have the appropriate patient population. The CRC is responsible for subject recruitment once the trial begins, or must establish the research team that recruits subjects. Viable subject recruitment must occur beforehand, as the clinical trial agreement stipulates the number of subjects the site must recruit.
Patient care[edit]
The CRC coordinates and conduct patient care visits and assures that all procedures comply with the protocol. The CRC interacts with the PI to assure the patient receives appropriate medical evaluation and care when needed and alerts the PI of any serious adverse events that occur during the study.
Adverse events[edit]
Main article: Adverse event
An adverse event is described as "any adverse change in health or "side-effect" that occurs in a person who participates in a clinical trial while the patient is receiving the treatment (study medication, application of the study device, etc.) or within a pre-specified period of time after their treatment has been completed." The CRC must report all adverse events to the sponsor and all serious adverse events to the IRB and sponsor.
Case report forms[edit]
Main article: Case report form
The purpose of the case report form (CRF) is to collect relevant data in accordance with the protocol and in compliance with regulatory requirements. The CRC collects the data on the CRF and submit to the sponsor either electronically or paper format.
Electronic Data Capture[edit]
Main article: Electronic Data Capture
The electronic data capture (EDC) is an online database where the information collected on the Case Report forms (CRF), or source documents is entered. These are usually created by the study sponsor or their subcontractors.
Processing and shipping of laboratory samples[edit]
Many Clinical Trials and non-clinical research studies use laboratory assessments/samples to assess patient response and or Adverse Events. The CRC is frequently responsible for the basic laboratory preparation of labs samples such as making hematology slides, spinning and aliquoting blood samples or placing tissue in formalin or flash freezing. These blood or tissue samples may be analyzed locally or sent to central laboratories for processing and analysis. The CRC must abide by The International Air and Transportation Association regulations (IATA) for biologic sample shipments.
Study close[edit]
In accordance with the local IRB, the CRC completes IRB study close documentation and appropriately notifies study subjects, research team, and pharmacies. The CRC works with the sponsor's clinical monitor to complete outstanding monitoring findings and queries. In addition, the CRC must comply with record retention policies of the Food and Drug Administration (FDA), the ICH, and the clinical trial agreement.
See also[edit]
Adverse event
Case report forms
Clinical investigator
Clinical monitoring
Clinical trial
Clinical trial protocol
Data monitoring committees
Declaration of Helsinki
Electronic Data Capture
Food and Drug Administration
Good clinical practice
Good manufacturing practice
Informed consent
Institutional Review Board
Medical research
New investigator
Nurses
Principal investigator
Processing and shipping of samples
External links[edit]
Good Clinical Practice in FDA Regulated Clinical Trials
International Conference on Harmonisation of Technical Requirements for Registration of Pharmaceuticals for Human Use
Code of Federal Regulation §46.116 General Requirements for Informed Consent
Association of Clinical Research Professionals
Society of Clinical Research Associates
Clinical Research Resources (Organizations, Services, Training)
United States Department of Health and Human Services, Office for Human Subjects Protections (OHRP)
OHRP Institutional Review Board Guidebook
Indirect Cost Overview
References[edit]
Jump up ^ http://www.fda.gov/oc/gcp
Jump up ^ Ottosen, M. J. (2007). Clinical Research in Clinical Practice, Making it Work for Patients (presentation). The University of Texas Health Science Center at Houston.
Jump up ^ http://www.ich.org
Jump up ^ Fedor, C.A., et al. (2006 Remedica). Responsible Research A Guide for Coordinators. ISBN 1-901346-68-4
Jump up ^ https://www.hhs.gov/ohrp/humansubjects/guidance/45cfr46.htm#46.116 Archived 2008-12-16 at the Wayback Machine.
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Green Goblin
From Wikipedia, the free encyclopedia
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This article is about the Marvel Comics fictional villain and its succession of alter egos. For the most well known Goblin, see Norman Osborn. For a comprehensive list of the Goblin characters, see Goblin (Marvel Comics)
Green Goblin
Norman Osborn as Green Goblin. Artwork for the cover of Secret Invasion: Dark Reign vol. 1, 1 (December 2008 Marvel Comics). Art by Bryan Hitch. (Variant)
Publication information
Publisher
Marvel Comics
First appearance
The Amazing Spider-Man #14 (July 1964)
Created by
Stan Lee
Steve Ditko
In-story information
Alter ego
Norman Osborn
Harry Osborn
Bart Hamilton
Phil Urich
Species
Human mutate
Notable aliases
Goblin King, Goblin Knight
Abilities
Superhuman strength, stamina, durability, agility and reflexes due to ingesting the Goblin Formula
Regenerative healing factor
Genius-level intellect
Skilled in hand-to-hand combat and martial arts
Uses goblin-themed weapons and a Goblin Glider which has a variety of offensive weapons as paraphernalia
The Green Goblin is the alias of several fictional supervillains appearing in American comic books published by Marvel Comics. The first and best known incarnation is Norman Osborn, created by Stan Lee and Steve Ditko to be the archenemy of Spider-Man. The Green Goblin is a Halloween-themed supervillain whose weapons resemble bats, ghosts and jack-o'-lanterns. Comics journalist and historian Mike Conroy writes of the character: "Of all the costumed villains who've plagued Spider-Man over the years, the most flat-out unhinged and terrifying of them all is the Green Goblin."[1] The Green Goblin has appeared in several films including 2002's Spider-Man as Norman Osborn, and 2007's Spider-Man 3 and 2014's The Amazing Spider-Man 2 as Harry Osborn.
Contents
[hide]
1 Publication history
2 Fictional character biography
2.1 Norman Osborn
2.2 Harry Osborn
2.3 Bart Hamilton
2.4 Phil Urich
2.5 Nameless construct
3 Powers and abilities
3.1 Goblin Glider
3.2 Pumpkin Bombs, Ghost Bombs, and the "Bag of Tricks"
4 Groups
4.1 Goblinettes
4.2 Order of the Goblin
4.3 Goblin Gangs
4.4 Goblin Underground
4.5 War Goblins
5 Other versions
6 In other media
7 Notes
8 References
9 External links
Publication history[edit]
The Amazing Spider-Man #14 (July 1964), the Green Goblin's first appearance; the character originally used a turbo-fan-powered "flying broomstick." Cover art by Steve Ditko.
According to Steve Ditko: "Stan's synopsis for the Green Goblin had a movie crew, on location, finding an Egyptian-like sarcophagus. Inside was an ancient, mythological demon, the Green Goblin. He naturally came to life. On my own, I changed Stan's mythological demon into a human villain."[2]
The Green Goblin debuted in The Amazing Spider-Man #14.[3] At this time his identity was unknown, but he proved popular and reappeared in later issues, which made a point of his secret identity. According to both Stan Lee and John Romita, Sr., who replaced Ditko as the title's artist, Lee always wanted the Green Goblin to be someone Peter Parker knew, while Ditko wanted his civilian identity to be someone who hadn't yet been introduced.[4][5][6] Lee elaborated: "Steve wanted him to turn out to be just some character that we had never seen before. Because, he said, in real life, very often a villain turns out to be somebody that you never knew. And I felt that that would be wrong. I felt, in a sense, it would be like cheating the reader. ... if it's somebody you didn't know and had never seen, then what was the point of following all the clues? I think that frustrates the reader."[6] However, Lee prefaced this statement by admitting that, due to his self-professed poor memory, he may have been confusing the Green Goblin with a different character,[a][6] and in an earlier essay he had said that he could not remember whether Norman Osborn being the Green Goblin was his idea or Ditko's.[7] Ditko has maintained that it was his idea, even claiming that he had decided on it before the first Green Goblin story was finished, and that a character he drew in the background of a single panel of Amazing Spider-Man #23 was meant to be Norman Osborn (who is not introduced until issue #37).[2][8]
Ditko left the series with issue #38, just one issue after Norman Osborn was introduced as the father of Harry Osborn. The first issue without Ditko saw the Green Goblin unmasked. John Romita, Sr., who replaced Ditko as the title's artist, recalled:
Stan wouldn't have been able to stand it if Ditko did the story and didn't reveal that the Green Goblin was Norman Osborn. I didn't know there was any doubt about Osborn being the Goblin. I didn't know that Ditko had just been setting Osborn up as a straw dog. I just accepted the fact that it was going to be Norman Osborn when we plotted it. I had been following the last couple of issues and didn't think there was really much mystery about it. Looking back, I doubt the Goblin's identity would have been revealed in Amazing #39 if Ditko had stayed on.[9]
In the landmark story "The Night Gwen Stacy Died" (The Amazing Spider-Man #121-122), the Green Goblin kills Gwen Stacy and later perishes in a fight against Spider-Man. However, the story's writer, Gerry Conway, had Harry Osborn adopt the Green Goblin identity in the aftermath of "The Night Gwen Stacy Died", later remarking that "I never had any intention of getting rid of the Green Goblin as a concept".[10] Harry Osborn's becoming the Green Goblin was mostly well-received, with fans remarking that Harry was more menacing than his father had ever been.[11]
Several other characters would take on the Green Goblin identity, and writer Roger Stern later introduced the Hobgoblin to replace the Green Goblin as Spider-Man's archenemy.[12] In addition, a retcon during the "Clone Saga" determined that the original Green Goblin survived the events of The Amazing Spider-Man #122 and had been playing a behind-the-scenes role in Spider-Man's adventures since then.
Fictional character biography[edit]
Norman Osborn[edit]
Main article: Norman Osborn
Norman Osborn is the main character connected with the alias who developed the equipment used by the other Green Goblins ever since he was exposed to the Goblin Formula.
Harry Osborn[edit]
Main article: Harry Osborn
Harry Osborn, Norman Osborn's son, becomes the second Green Goblin. After being defeated and placed under the care of Dr. Bart Hamilton, Harry while under hypnosis reveals many Green Goblin secrets and Hamilton decides to become the third Green Goblin. Harry recovers and fights Hamilton until an explosion renders Harry amnesiac of his time as the Green Goblin and kills Hamilton.[13] Years later, Harry's memories return[14] and he uses a new stronger Goblin serum to augment his power, but dies from it.[15] Harry would later return thanks to the machinations of Mephisto in "One More Day".
Bart Hamilton[edit]
Dr. Barton "Bart" Hamilton was a psychologist born in Scarsdale, New York. Before his death, Harry is put under the medical care of Dr. Hamilton, who manages to make Harry bury his vendetta and identity as the Goblin in his subconscious via hypnosis.[16] Dr. Hamilton uses Harry's secrets to become the third Green Goblin.[17] However, Harry has no knowledge of where the Green Goblin strength-enhancing formula is, and Hamilton is thus unable to locate it. He hatches an elaborate plot to kill Silvermane, but Harry Osborn resumes the Green Goblin identity to stop him. They battle and Hamilton is accidentally killed by a bomb with which he meant to kill Spider-Man, and Harry becomes amnesiac.[13] Years later, there was speculation that Hamilton was the Hobgoblin but this is disproved.[18]
A Green Goblin that is presumably Hamilton appears as a member of the second incarnation of the Legion of the Unliving, created by the Grandmaster. After being pitted against the Avengers, the group and their master are vanquished by Death.[19]
During the Dead No More: The Clone Conspiracy storyline, Bart Hamilton's Green Goblin form is cloned by Jackal and his company New U Technologies.[20]
Phil Urich[edit]
Main article: Phil Urich
After Harry's insanity relapses and he becomes the Green Goblin again on numerous occasions until he dies from the side effects of a modified Goblin serum, his equipment and the Green Goblin identity are then briefly used by Philip Benjamin "Phil" Urich (nephew of Ben Urich of the Daily Bugle) trying to gain a reputation as a superhero, although he is sometimes seen as being as maniacal as his villainous predecessors. When his equipment is damaged during a battle against a Sentinel in the Onslaught crossover, Phil is unable to repair or replace it and the fourth Green Goblin thereafter retires. He later forms the team Excelsior. Currently Phil has become the new Hobgoblin, but after being caught by Spider-Man he is broken out of jail and becomes the Goblin Knight a servant of the Green Goblin.
Nameless construct[edit]
After returning from the dead, Norman begins trying to convince the public that he was never the Green Goblin, so he has an associate named Doctor Angst genetically engineer a new Green Goblin, one slavishly devoted to him, to help his case.[21] Norman uses the Goblin as a bodyguard,[22] to torment Spider-Man,[23] and in ploys (such as kidnapping Normie Osborn for ransom) designed to draw public sympathy.[24]
After Norman is incapacitated by the Gathering of Five, the Goblin is left alone, and begins to degenerate due to no longer having access to the formula required to keep him stable. The Goblin goes after Harry Osborn's wife Liz Allan in a desperate bid to find a cure for his condition, but is driven off by Spider-Man.[25] During a second attempt to capture Liz, the Goblin unmasks himself in front of Spider-Man (shuffling through a variety of faces, the most prominent being Harry, after doing so) and melts into a pile of goo as he claims Norman would return.[21]
Powers and abilities[edit]
In his first appearances, the Green Goblin seems to be a normal man (albeit very nimble and athletic) who gets his powers from his many gadgets. In later appearances, it is established that due to the "Goblin Formula", Norman and any successor to the Goblin persona possesses superhuman strength (lifting 9 tons under optimal conditions), increased speed, reflexes, endurance, and healing rate. Though much slower than the likes of Wolverine, he can regenerate damaged tissue and organs. However, if seriously wounded, it would leave scars on his body. His intelligence has been enhanced to gifted levels, though at the price of his sanity. His involvement with the Gathering of the Five loosened his grip on reality, though he is able to maintain his sanity via chemically treated dermal patches. When not impaired by mental illness, Osborn is a cunning businessman, masterful strategist, and highly skilled in electronics, mechanics, engineering and chemistry. The Green Goblin is armed with a variety of bizarre devices. He travels on his bat-shaped "Goblin Glider", an incredibly fast and maneuverable rocket glider equipped with various armaments. Other weapons the Goblin uses include incendiary Pumpkin Bombs, smoke- and gas-emitting grenades resembling ghosts and jack-'o'-lanterns, razor-edged boomerang-like throwing weapons called razor bats and gloves woven with micro-circuited filaments which channel pulsed discharges of electricity at nearly 10,000 volts. He wears a green costume underneath bulletproof chainmail with an overlapping purple tunic. His mask has a built-in gas filter to keep him safe from his own gasses.
Goblin Glider[edit]
In the Green Goblin's first appearance in "The Amazing Spider-Man" #14, he rides a steel, rocket powered wingless broomstick, not a glider. In issue #17, his second appearance, he changes it to the familiar bat-shaped glider. The Goblin Glider's controls and microprocessor are located behind the head of the glider. The pilot is attached to the glider via electromagnetic clasps on the wings of the glider. It has great maneuverability and is steered mostly by leaning, but manual controls are available behind the head of the glider. The Green Goblin later added radio-linked voice controls to his mask. Its top speed is 90 miles per hour (140 km/h), and it can support about 400 lb (180 kg), though it could lift far more for brief periods. Flying at top speed with a full load and a full fuel tank would deplete its fuel supply in about an hour.
In the Goblin's later appearances, the glider possesses a wide array of armaments, including heat-seeking and smart missiles, machine guns, extending blades, a flamethrower and a pumpkin bomb dispenser/launcher.
Pumpkin Bombs, Ghost Bombs, and the "Bag of Tricks"[edit]
A grenade used by the Green Goblin, the Pumpkin Bomb resembles a miniature Jack-o'-lantern and, when thrown, ignites almost soundlessly and produces enough heat to melt through a 3-inch (76 mm) thick sheet of steel. The Goblin carries these and a variety of other weapons, such as razor bats (akin to bladed boomerangs) and miniature "Ghost Bombs" in an over-the-shoulder satchel he calls his "Bag Of Tricks". The Green Goblin has a range of other "Pumpkin Bombs" and "Ghost Bombs" at his disposal, including smoke-and gas-emitting bombs. Some release hallucinogenic gases, while others emit a specially-created mixture that neutralizes Spider-Man's spider-sense for a limited period of time. Still others emit a flame-retarding gas, which the Goblin uses against the Human Torch.[26] All of these are covered in a light plastic coating.
Groups[edit]
Goblinettes[edit]
Some time after Harry's death, his son Normie is abducted by a trio of mysterious female Goblins. With the aid of Ben Urich and Molten Man, Spider-Man discovers that these "Goblinettes" are robots created by Harry, and controlled by a supercomputer containing copies of Harry and Norman's minds. The Goblinettes are destroyed along with the computer, which had been programmed to expose Normie to the same version of the Goblin Serum that killed Harry, in attempt to create a new Green Goblin.[27]
Order of the Goblin[edit]
An offshoot of the Scriers cult founded by Norman, consisting of only his most loyal followers.
Goblin Gangs[edit]
Following Norman Osborn's rise and fall from power, a number of Goblin Gangs sprang up across America. Composed mostly of white supremacists who agreed with his plans to remove the Asgardians from the country, they wear purple clothes, green face makeup and have goblin-based tattoos.[28] Vin Gonzales was revealed to have received one of these tattoos while in prison when he passed a message from Norman to Harry about Stanley, Harry's newborn son.[29]
Goblin Underground[edit]
The Goblin Underground is a group of organized crime composed of Goblin-themed villains led by Goblin King against their nemesis Spider-Man.
War Goblins[edit]
In the eight month timeskip that occurred subsequent to the events of Secret Wars, a heavily bandaged arms dealer claiming to be Norman Osborn began selling Green Goblin-based costumes and equipment on the black market, establishing private armies of "War Goblins".[30]
Other versions[edit]
Main article: Alternative versions of the Green Goblin
As a fictional character, the Green Goblin has appeared in a number of media, from comic books to films and television series. Each version of the character is typically established within its own continuity within parallel universes, to the point where distinct differences in the portrayal of the character can be identified. Various versions of the Goblin are depicted in works such as Marvel's Ultimate line and Earth X.
In other media[edit]
Main article: Green Goblin in other media
The Green Goblin has appeared in many Spider-Man related media.
Notes[edit]
Jump up ^ It is possible that Lee was thinking of The Big Man. The Big Man was a mob villain who, like the Green Goblin, was created by Lee/Ditko and had the mystery of his identity played up before being unmasked as someone Spider-Man knew from his civilian life. Moreover, later in the interview Lee suggests that he had the Green Goblin confused with "a gangster."
References[edit]
Jump up ^ Conroy, Mike. 500 Comicbook Villains (Collins & Brown, 2004), p. 55
^ Jump up to: a b Murray, Will (July 2002). "Spider Time". Starlog and Comics Scene present Spider-Man and other Comics Heroes
Jump up ^ Manning, Matthew K.; Gilbert, Laura, ed. (2012). "1960s". Spider-Man Chronicle Celebrating 50 Years of Web-Slinging. Dorling Kindersley. p. 26. ISBN 978-0756692360. Spider-Man's arch nemesis, the Green Goblin, as introduced to readers as the 'most dangerous foe Spidey's ever fought.' Writer Stan Lee and artist Steve Ditko had no way of knowing how true that statement would prove to be in the coming years. CS1 maint: Extra text: authors list (link)
Jump up ^ Ro, Ronin. Tales to Astonish: Jack Kirby, Stan Lee and the American Comic Book Revolution, p. 107 (Bloomsbury, 2004)
Jump up ^ Cronin, Brian (January 4, 2013). "Comic Book Legends Revealed #400 (Part 1)". Comic Book Resources. Retrieved 14 February 2016.
^ Jump up to: a b c Thomas, Roy (August 2011). "Stan Lee's Amazing Marvel Interview!". Alter Ego. TwoMorrows Publishing (104): 7.
Jump up ^ "Preface". Spider-Man Vs. Green Goblin (First ed.). Marvel Comics. August 1995. pp. 4–5. ISBN 9780785101390.
Jump up ^ "Comic Book Legends Revealed #400 (Part 1) | Comics Should Be Good @ CBR". 2013-01-04. Retrieved 2016-07-17.
Jump up ^ Comics Creators on Spider-Man, pg 29–30, Tom Defalco. (Titan Books, 2004)
Jump up ^ Williams, Scott E. (October 2010). "Gerry Conway: Everything but the Gwen Stacy Sink". Back Issue!. TwoMorrows Publishing (44): 14.
Jump up ^ Walker, Karen (October 2010). "Gwen, the Goblin, and the Spider-Fans". Back Issue!. TwoMorrows Publishing (44): 20.
Jump up ^ DeFalco, Tom (2004). Comics Creators on Spider-Man. Titan Books. ISBN 1-84023-422-9.
^ Jump up to: a b The Amazing Spider-Man #180
Jump up ^ The Spectacular Spider-Man #177-180
Jump up ^ The Spectacular Spider-Man #200
Jump up ^ The Amazing Spider-Man #174
Jump up ^ The Amazing Spider-Man #176
Jump up ^ Hobgoblin Lives #1–3
Jump up ^ Avengers Annual #16
Jump up ^ Clone Conspiracy #2
^ Jump up to: a b Peter Parker: Spider Man vol. 2, #18
Jump up ^ The Spectacular Spider-Man vol. 2, #259-261
Jump up ^ Peter Parker: Spider-Man #88
Jump up ^ The Spectacular Spider-Man vol. 2, #255
Jump up ^ The Amazing Spider-Man vol. 2, #18
Jump up ^ "The Amazing Spider-Man", issue #17.
Jump up ^ Spider-Man: Legacy of Evil
Jump up ^ The Amazing Spider-Man #649
Jump up ^ The Amazing Spider-Man #647
Jump up ^ Dan Slott (w), Giuseppe Camuncoli (p), Cam Smith (i), Marte Gracia (col), VC's Joe Caramagna (let), Nick Lowe (ed). "High Priority" The Amazing Spider-Man #4 (9 December 2015), United States: Marvel Comics
External links[edit]
Green Goblin (disambiguation) at the Marvel Universe
Green Goblin at the Marvel Database Project
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