Sculpting in ice: writing for the postmodern stage

In the following thesis I argue that from within a postmodern framework the ‘realist narrative mode’ finds its position as the narratological form of choice for communicating historical and biographical ‘truth’ under question. Furthermore, as the formal distinctions between ‘fictional’ and ‘factual’ writing become less clear, I propose that the writer’s approach to his/her craft must also be redefined. Under such conditions I argue that each individual text defines and legitimises its own particular terms of reference and narrative form. The act of writing within a postmodern framework therefore, is not only a craft, but also a philosophical activity and as such requires the writer to enter the world of theoretical fiction. Sculpting in Ice is the product of one such text entering into this process. This thesis demonstrates in action the process by which the play text for Sculpting in Ice develops its own theory of fiction through the writing of that fiction. The primary focus of the thesis is, therefore, to explore the relationship between writing and theory and to render explicit the particular ‘theory of fiction’ created during the writing of Sculpting in Ice.

Beyond socialism: Tanzanian theatre, neoliberalism and foreign aid complexity

Theatralität ist ein gängiges Konzept, um Theater in Afrika zu definieren. Wird dieses Konzept angewendet, so treten die historischen Unterschiede zwischen den verschiedenen Theaterformen in den Hintergrund. Deshalb ist es wichtig, Theater in einen kulturellen Kontext zu stellen, aus dem das Theater entsteht. Dadurch können nationale und internationale Suprastrukturen, die die sozialpolitische und wirtschaftliche Atmosphäre bestimmen, analysiert werden,. Da sich die aktuelle „globale“ Entwicklung auf neoliberale Grundsätze stützt, ist es offensichtlich, dass man Theater nicht diskutieren kann, ohne näher auf Neoliberalismus, Imperialismus, Kapitalismus, Entwicklungshilfe und Geberpolitik einzugehen.rnDerzeit werden die meisten Theaterprojekte in Tansania durch die Entwicklungshilfe oder ausländische Geberorganisationen unterstützt. Diese Organisationen stellen finanzielle Mittel zur Verfügung, um Theaterproduktionen auf unterschiedlichem Niveau zu ermöglichen. Diese Spendenpraxis hat zu der Fehlannahme geführt, dass Theater nur dann ein Theater ist, wenn es durch ausländische Organisationen finanziert wird. Jedoch ist es offensichtlich, dass diese finanziellen Mittel eine große Rolle in der Machtpolitik spielen. Diese Studie untersucht deshalb die Frage: Welchen Einfluss hat die neoliberale Politik, insbesondere durch die Entwicklungshilfe, auf das Theater in Tansania? Die Arbeit deckt einmal die Verbindung zwischen dem produzieren Theater und den verschiedenen dominierenden politischen Richtungen – von Nationalismus bis Neoliberalismus – auf. Darüber hinaus wird gezeigt, dass diese Verbindungen es dem Theater erschweren, diese Suprastrukturen zu vermeiden, durch die es finanziert wird. Das bedeutet, dass die neoliberale Politik mit seinen Merkmalen von Einengung, Unterdrückung und Ausbeutung auch ein eingeengtes, unterdrücktes und ausbeuterisches Theater hervorbringt. Dieser Studie bezeichnet ein solches Theater als Theater (Neo-)Liberalismus. Es ist ein Theater, das apolitisch auftritt, aber tatsächlich unter der neoliberal Politik des freien Markts und der Subventionsstreichungen ums Überleben kämpft.rnIndem diese Verbindungen zwischen Theater, Entwicklungshilfe und Geberorganisationen erläutert werden, kommt diese Forschung zu folgendem Ergebnis: Die Geberorganisationen haben kein Recht, unabhängig von der Höhe ihrer Spende, in die Souveränität eines Staates einzugreifen oder ein neues System einzuführen. Deshalb sollte die Loslösung von ausländischen Geberländern an erster Stelle stehen, damit sich das Theater ganz entwickeln und unabhängig überleben kann. Es ist deshalb notwendig, das Konzept des Volkstheaters neu zu definieren. Das Theater soll wieder mit den Initiativen von Menschen zu tun haben und ihre eigenen Themen in einem gewissen zeitlich und räumlichen Rahmen ansprechen.rnrn

Towards a grammar of the senses: perception in Lushese (Olussese)

The thesis presents the grammar of the Eastern African Bantu language Lushese (Olussese), spoken in Uganda, and gives information on the historical background that caused the today´s highly endangered status of the language (chapters 1 & 2). Focussing on the semantics of the verbs of perception, the thesis presents the use and meaning of various linguistic means for expressing perception in general and further for the expression of physical, sensory, emotional and cognitive experience in Lushese (chapters 3-5). The findings in Lushese provide insights of the use of language in the light of social interaction and include information on the ways cultural and social values impact the choice of linguistic means (chapter 6). With respect to the theoretical issues concerning the language of perception the data in Lushese show that the way people speak about the environment and use language to express categories of perception are rather a matter of innate cultural interpretation regarding the human body and the environment than a matter of the human body and the environment as given by biological and/or physical conditions.

Raum - Klang - Bild - Bewegung. Eine Erweiterung ästhetischen Lernens und Lehrens im Zeigekontext der Erziehung

Im Zuge einer Auseinandersetzung mit Erweiterungsmöglichkeiten ästhetischen Lernens in der Grundschule steht insbesondere die Vermittlungstätigkeit im Zentrum. Dabei wird die Gebärde des Zeigens herausgearbeitet, um sie für ästhetische Lehr- und Lernprozesse in der Grundschule nutzbar zu machen. In diesem Zusammenhang stellt sich die Frage, inwiefern eine differenzierte Auseinandersetzung mit Vermittlungsformen und -methoden performativer Praxen das Spektrum ästhetischen Lernens in der Grundschule erweitern kann. Im Rahmen kultureller Bildung erfolgt eine Spezifizierung ästhetischer Lernprozesse auf eine Gestaltungspraxis im kulturellen Handlungsfeld des Tanzes. Um entsprechende Vermittlungsformen ästhetischen Lehrens darzulegen, wird eine an der Tanzkunst orientierte Methodik herausgearbeitet. Sie schließt sich an künstlerische Arbeitsweisen und Inszenierungsstrategien von Pina Bausch und William Forsythe an. Dies bietet grundlegendes methodisches Potenzial, das für ästhetische Lern- und Lehrprozesse in der Grundschule nutzbar gemacht werden kann. Daraus erwächst die Frage nach dem Wie des Erzeugens theatraler Präsenz und Verkörperung. In den Mittelpunkt rückt damit auch die Frage nach Könnerschaft, bei der didaktische Perspektiven im Sinne eines „Lehrgangs“ körperlich-performativer Alphabetisierung im Zentrum stehen. Grundlegend ist in jeder Hinsicht die anthropologische Doppelperspektive auf Verkörperung als Wechsel zwischen Leib-Sein und Körper-Haben. Weitergehendes Ziel ist die Skizzierung eines Lernbereichs „Künstlerisches Gestalten in Raum – Klang – Bild – Bewegung“, der in korrespondierenden Bezügen zu den tradierten ästhetisch affinen Fächern in der Grundschule steht. Leitidee bildet die Auseinandersetzung mit vielfältigen Gestaltungsmöglichkeiten, die auf spezifische Fähigkeiten und Fertigkeiten in musikalischen, bildnerischen, tänzerischen und sprachlichen Bereichen bezogen sind. Der begrifflich-systematische Argumentationsstrang, der in dieser Arbeit verfolgt wird, ist gestützt auf anthropologische, ästhetische-künstlerische und pädagogische Theorien und durch Praxisbeispiele veranschaulicht.

Representation of Sound Objects within Early-Stage Auditory Areas: A Repetition Effect Study Using 7T fMRI.

Environmental sounds are highly complex stimuli whose recognition depends on the interaction of top-down and bottom-up processes in the brain. Their semantic representations were shown to yield repetition suppression effects, i. e. a decrease in activity during exposure to a sound that is perceived as belonging to the same source as a preceding sound. Making use of the high spatial resolution of 7T fMRI we have investigated the representations of sound objects within early-stage auditory areas on the supratemporal plane. The primary auditory cortex was identified by means of tonotopic mapping and the non-primary areas by comparison with previous histological studies. Repeated presentations of different exemplars of the same sound source, as compared to the presentation of different sound sources, yielded significant repetition suppression effects within a subset of early-stage areas. This effect was found within the right hemisphere in primary areas A1 and R as well as two non-primary areas on the antero-medial part of the planum temporale, and within the left hemisphere in A1 and a non-primary area on the medial part of Heschl's gyrus. Thus, several, but not all early-stage auditory areas encode the meaning of environmental sounds.

Horses for courses: Relating innovation diffusion concepts to the stage of the diffusion process

The research uses a sociological perspective to build an improved, context specific understanding of innovation diffusion within the UK construction industry. It is argued there is an iterative interplay between actors and the social system they occupy that directly influences the diffusion process as well as the methodology adopted. The research builds upon previous findings that argued a level of best fit for the three innovation diffusion concepts of cohesion, structural equivalence and thresholds. That level of best fit is analysed here using empirical data from the UK construction industry. This analysis allows an understanding of how the relative importance of these concepts' actually varies within the stages of the innovation diffusion process. The conclusion that the level of relevance fluctuates in relation to the stages of the diffusion process is a new development in the field.

Screening the RSC stage: the 2014 Live from Stratford-upon-Avon cinema broadcasts

During the Royal Shakespeare Company's 2014 summer season, both parts of Henry IV and The Two Gentlemen of Verona were presented as Live from Stratford-upon-Avon broadcasts in cinemas around the world. This article presents a case study of these broadcasts, drawing on the author's observations and insights as their producer as well as interview contributions from those involved in both the stage and screen presentations. Recognising that the hybrid form of “live cinema” performance has developed rapidly over the past five years but is as-yet little-documented, the study develops an analytical approach to its creative processes and to its aesthetics. This discussion is combined with a consideration of the history of earlier screen adaptations of RSC productions at Stratford-upon-Avon. The article details the stages of the production process for the Live from Stratford-upon-Avon broadcasts in 2014 and considers the ways in which the broadcast teams collaborate with the casts and creative teams of the theatre productions. In addition, the article explores processes of adaptation in the journey from stage to screen, the poetics of multi-camera presentation and questions of “live-ness”, the social experience of viewing performance in the cinema, and possible developments for live theatre on screen.

Nebivolol Reduces Central Blood Pressure In Stage I Hypertensive Patients: Experimental Single Cohort Study.

Assessment of central blood pressure (BP) has grown substantially over recent years because evidence has shown that central BP is more relevant to cardiovascular outcomes than peripheral BP. Thus, different classes of antihypertensive drugs have different effects on central BP despite similar reductions in brachial BP. The aim of this study was to investigate the effect of nebivolol, a β-blocker with vasodilator properties, on the biochemical and hemodynamic parameters of hypertensive patients. Experimental single cohort study conducted in the outpatient clinic of a university hospital. Twenty-six patients were recruited. All of them underwent biochemical and hemodynamic evaluation (BP, heart rate (HR), central BP and augmentation index) before and after 3 months of using nebivolol. 88.5% of the patients were male; their mean age was 49.7 ± 9.3 years and most of them were overweight (29.6 ± 3.1 kg/m2) with large abdominal waist (102.1 ± 7.2 cm). There were significant decreases in peripheral systolic BP (P = 0.0020), diastolic BP (P = 0.0049), HR (P < 0.0001) and central BP (129.9 ± 12.3 versus 122.3 ± 10.3 mmHg; P = 0.0083) after treatment, in comparison with the baseline values. There was no statistical difference in the augmentation index or in the biochemical parameters, from before to after the treatment. Nebivolol use seems to be associated with significant reduction of central BP in stage I hypertensive patients, in addition to reductions in brachial systolic and diastolic BP.

Influence Of The Stage Of Ripeness On The Composition Of Iridoids And Phenolic Compounds In Genipap (genipa Americana L.).

Genipap fruits, native to the Amazon region, were classified in relation to their stage of ripeness according to firmness and peel color. The influence of the part of the genipap fruit and ripeness stage on the iridoid and phenolic compound profiles was evaluated by HPLC-DAD-MS(n), and a total of 17 compounds were identified. Geniposide was the major compound in both parts of the unripe genipap fruits, representing >70% of the total iridoids, whereas 5-caffeoylquinic acid was the major phenolic compound. In ripe fruits, genipin gentiobioside was the major compound in the endocarp (38%) and no phenolic compounds were detected. During ripening, the total iridoid content decreased by >90%, which could explain the absence of blue pigment formation in the ripe fruits after their injury. This is the first time that the phenolic compound composition and iridoid contents of genipap fruits have been reported in the literature.

Prognostic Impact Of Perineural Invasion And Lymphovascular Invasion In Advanced Stage Oral Squamous Cell Carcinoma.

Perineural invasion (PNI) and lymphovascular invasion (LVI) have been associated with the risk of local recurrences and lymph node metastasis. The aim of this study was to evaluate the prognostic impact of PNI and LVI in patients with advanced stage squamous cell carcinoma of the tongue and floor of the mouth. One hundred and forty-two patients without previous treatment were selected. These patients underwent radical surgery with neck dissection and adjuvant treatment. Clinicopathological data were retrieved from the medical charts, including histopathology and surgery reports. Univariate analysis was performed to assess the impact of studied variables on survival. Overall survival was negatively influenced by six tumour-related factors: increasing T stage (P = 0.003), more than two clinically positive nodes (P = 0.002), extracapsular spread of lymph node metastasis (P < 0.001), tumour thickness (P = 0.04), PNI (P < 0.001), and LVI (P = 0.012). Disease-free survival was influenced by PNI (P = 0.04), extracapsular spread of lymph node metastasis (P = 0.008), and N stage (P = 0.006). Multivariate analysis showed PNI to be an independent predictor for overall survival (P = 0.01) and disease-free survival (P = 0.03). Thus the presence of PNI in oral carcinoma surgical specimens has a significant impact on survival outcomes in patients with advanced stage tumours submitted to radical surgery and adjuvant radiotherapy/radiochemotherapy.

Vertical alveolar crest bone maintenance around implants in two-stage surgery: an in situ study in dogs

The aim of this study was to evaluate in situ changes in the alveolar crest bone height around immediate implant-supported crowns in comparison to tooth-supported crowns (control) with the cervical margins located at the bone crest level, without occlusal load. In Group I, after extraction of 12 mandibular premolars from 4 adult dogs, implants from Branemark System (MK III TiU RP 4.0 x 11.5 mm) were placed to retain complete acrylic crowns. In Group II, premolars were prepared to receive complete metal crowns. Sixteen weeks after placement of the crowns (38 weeks after tooth extraction), the height of the alveolar bone crest was measured with a digital caliper. Data were analyzed statistically by the Mann-Whitney test at 5% significance level. The in situ analysis showed no statistically significant difference (p=0.880) between the implant-supported and the tooth-supported groups (1.528 + 0.459 mm and 1.570 + 0.263 mm, respectively). Based on the findings of the present study, it may be concluded that initial peri-implant bone loss may result from the remodeling process necessary to establish the biological space, similar to which occurs with tooth-supported crowns.

Correlation of meta 1 expression with culture stage, cell morphology and infectivity in Leishmania (Leishmania) amazonensis promastigotes

The parasitic protozoan Leishmania (Leishmania) amazonensis alternates between mammalian and insect hosts. In the insect host, the parasites proliferate as procyclic promastigotes andthen differentiate into metacyclic infective forms. The meta 1 gene is preferentially expressed during metacyclogenesis. Meta 1 expression profile determination along parasite growth curves revealed that the meta 1 mRNA level peaked at the early stationary phase then decreased to an intermediate level. No correlation was observed between meta 1 expression and infectivity. Conversely, infectivity correlated with the increase of apoptotic cells in the late stationary phase.