Note-book of Anton Chekhov;

First published in Russia in 1914.

A century and a half of Pittsburg and her people /

Index in v. 2.

Tracing Hybrid Collectives of Illness, War, and Medicine in Twentieth- and Twenty-First Century Narratives of Illness

Thesis (Ph.D.)--University of Washington, 2016-06

Alterations in dihydropyridine receptors in dystrophin-deficient cardiac muscle

The deficiency of dystrophin, a critical membrane stabilizing protein, in the mdx mouse causes an elevation in intracellular calcium in myocytes. One mechanism that could elicit increases in intracellular calcium is enhanced influx via the L-type calcium channels. This study investigated the effects of the dihydropyridines BAY K 8644 and nifedipine and alterations in dihydropyridine receptors in dystrophin-deficient mdx hearts. A lower force of contraction and a reduced potency of extracellular calcium (P < 0.05) were evident in mdx left atria. The dihydropyridine agonist BAY K 8644 and antagonist nifedipine had 2.7- and 1.9-fold lower potencies in contracting left atria (P < 0.05). This corresponded with a 2.0-fold reduction in dihydropyridine receptor affinity evident from radioligand binding studies of mdx ventricular homogenates (P < 0.05). Increased ventricular dihydropyridine receptor protein was evident from both radioligand binding studies and Western blot analysis and was accompanied by increased mRNA levels (P < 0.05). Patch-clamp studies in isolated ventricular myocytes showed no change in L-type calcium current density but revealed delayed channel inactivation (P < 0.05). This study indicates that a deficiency of dystrophin leads to changes in dihydropyridine receptors and L-type calcium channel properties that may contribute to enhanced calcium influx. Increased influx is a potential mechanism for the calcium overload observed in dystrophin-deficient cardiac muscle.

Non-major-histocompatibility-complex genetics of ankylosing spondylitis

There is strong evidence from twin and family studies indicating that a substantial proportion of the heritability of susceptibility to ankylosing spondylitis (AS) and its clinical manifestations is encoded by non-major-histocompatibility-complex genes. Efforts to identify these genes have included genomewide linkage studies and candidate gene association studies. One region, the interleukin (IL)-I gene complex on chromosome 2, has been repeatedly associated with AS in both Caucasians and Asians. It is likely that more than one gene in this complex is involved in AS, with the strongest evidence to date implicating IL-IA. Identifying the genes underlying other linkage regions has been difficult due to the lack of obvious candidates and the low power of most studies to date to identify genes of the small to moderate magnitude that are likely to be involved. The field is moving towards genomewide association analysis, involving much larger datasets of unrelated cases and controls. Early successes using this approach in other diseases indicates that it is likely to identify genes in common diseases like AS, but there remains the risk that the common-variant, common-disease hypothesis will not hold true in AS. Nonetheless, it is appropriate for the field to be cautiously optimistic that the next few years will bring great advances in our understanding of the genetics of this condition.

Central neural mechanisms mediating human visceral hypersensitivity

Although visceral hypersensitivity is thought to be important in generating symptoms in functional gastrointestinal disorders, the neural mechanisms involved are poorly understood. We recently showed that central sensitization (hyperexcitability of spinal cord sensory neurones) may play an important role. In this study, we demonstrate that after a 30-min infusion of 0.15 M HCl acid into the healthy human distal esophagus, we see a reduction in the pain threshold to electrical stimulation of the non-acid-exposed proximal esophagus (9.6 ± 2.4 mA) and a concurrent reduction in the latency of the N1 and P2 components of the esophageal evoked potentials (EEP) from this region (10.4 ± 2.3 and 15.8 ± 5.3 ms, respectively). This reduced EEP latency indicates a central increase in afferent pathway velocity and therefore suggests that hyperexcitability within the central visceral pain pathway contributes to the hypersensitivity within the proximal, non-acid-exposed esophagus (secondary hyperalgesia/allodynia). These findings provide the first electrophysiological evidence that central sensitization contributes to human visceral hypersensitivity.

Una tesis innovadora en la Argentina de los sesenta : Fenomenología de la maternidad. Diálogo con Lucía Piossek Prebisch

Lucía Piossek Prebisch es una filósofa argentina con una importante trayectoria en la docencia y en la investigación. Egresó de Filosofía de la Facultad de Filosofía y Letras de la Universidad Nacional de Tucumán (UNT), y es profesora emérita por la misma casa de estudios. Allí se desempeñó en los cargos máximos de la docencia en la asignatura Filosofía Contemporánea, y dictó también Filosofía en la Argentina y Filosofía de la Historia. Asimismo, fue fundadora y directora del Instituto de Historia y Pensamiento Argentinos, entre otras actividades académicas desarrolladas en esa misma institución. A principios de los años setenta, la revista Sur publica "La mujer y la filosofía",un ensayo donde Lucía Piossek Prebisch presenta su tesis fenomenológica acerca de la experiencia de la maternidad. La autora sostiene que "la filosofía ha estado consustanciada de modo ancestral con lo masculino", dando un giro al tratamiento que el filósofo existencialista cristiano Gabriel Marcel realiza de la "experiencia de la paternidad". Indagó acerca de la "corporalidad", la "libertad" y la "situación" de las mujeres, más específicamente durante la gestación y la lactancia. En ese ensayo hallamos no solo una recepción del existencialismo, sobre todo en sus primeros contactos con el ámbito intelectual argentino, sino además los "ecos" de su perspectiva de análisis, ligada a la filósofa Simone de Beauvoir -de cuya posición sobre la maternidad se aleja- y su relación con las poetas Alfonsina Storni y Gabriela Mistral. Asimismo, en su obra se detecta la influencia de la escritora Virginia Woolf y de figuras poco transitadas en nuestro medios, como la filósofa religiosa Edith Stein (1891-1942) y la ensayista española María Zambrano (1904-1991), entre otras. En ese ensayo, Lucía Piossek Prebisch realiza un tratamiento original en su época acerca de la experiencia de la maternidad: el cuerpo propio de la mujer es, al mismo tiempo, el cuerpo de "otro", el ser en gestación sobre cuyo desarrollo dentro de sí no tiene decisión ni competencia: "... el cuerpo durante la gestación y la lactancia, se experimenta como donación de sí y no solo como medio para los fines de la especie" (Piossek Prebisch, 1973: 101). A sus casi ochenta y siete años, Lucía Piossek Prebisch nos recibió, en abril del 2012, en su casa del barrio Yerba Buena de San Miguel de Tucumán y -rodeada de cuadros que muestran un reverdecer tucumano-, nos cuenta sobre el contexto de producción de su ensayo "La mujer y la filosofía", que fue presentado en las Segundas Jornadas de Filosofía, organizadas por la Asociación Argentina de Filosofía, en noviembre de 1965, en la ciudad de La Plata, cuyas Actas publicó la editorial Sudamericana en la colección "Perspectiva" en el año 1966

Una tesis innovadora en la Argentina de los sesenta : Fenomenología de la maternidad. Diálogo con Lucía Piossek Prebisch

Lucía Piossek Prebisch es una filósofa argentina con una importante trayectoria en la docencia y en la investigación. Egresó de Filosofía de la Facultad de Filosofía y Letras de la Universidad Nacional de Tucumán (UNT), y es profesora emérita por la misma casa de estudios. Allí se desempeñó en los cargos máximos de la docencia en la asignatura Filosofía Contemporánea, y dictó también Filosofía en la Argentina y Filosofía de la Historia. Asimismo, fue fundadora y directora del Instituto de Historia y Pensamiento Argentinos, entre otras actividades académicas desarrolladas en esa misma institución. A principios de los años setenta, la revista Sur publica "La mujer y la filosofía",un ensayo donde Lucía Piossek Prebisch presenta su tesis fenomenológica acerca de la experiencia de la maternidad. La autora sostiene que "la filosofía ha estado consustanciada de modo ancestral con lo masculino", dando un giro al tratamiento que el filósofo existencialista cristiano Gabriel Marcel realiza de la "experiencia de la paternidad". Indagó acerca de la "corporalidad", la "libertad" y la "situación" de las mujeres, más específicamente durante la gestación y la lactancia. En ese ensayo hallamos no solo una recepción del existencialismo, sobre todo en sus primeros contactos con el ámbito intelectual argentino, sino además los "ecos" de su perspectiva de análisis, ligada a la filósofa Simone de Beauvoir -de cuya posición sobre la maternidad se aleja- y su relación con las poetas Alfonsina Storni y Gabriela Mistral. Asimismo, en su obra se detecta la influencia de la escritora Virginia Woolf y de figuras poco transitadas en nuestro medios, como la filósofa religiosa Edith Stein (1891-1942) y la ensayista española María Zambrano (1904-1991), entre otras. En ese ensayo, Lucía Piossek Prebisch realiza un tratamiento original en su época acerca de la experiencia de la maternidad: el cuerpo propio de la mujer es, al mismo tiempo, el cuerpo de "otro", el ser en gestación sobre cuyo desarrollo dentro de sí no tiene decisión ni competencia: "... el cuerpo durante la gestación y la lactancia, se experimenta como donación de sí y no solo como medio para los fines de la especie" (Piossek Prebisch, 1973: 101). A sus casi ochenta y siete años, Lucía Piossek Prebisch nos recibió, en abril del 2012, en su casa del barrio Yerba Buena de San Miguel de Tucumán y -rodeada de cuadros que muestran un reverdecer tucumano-, nos cuenta sobre el contexto de producción de su ensayo "La mujer y la filosofía", que fue presentado en las Segundas Jornadas de Filosofía, organizadas por la Asociación Argentina de Filosofía, en noviembre de 1965, en la ciudad de La Plata, cuyas Actas publicó la editorial Sudamericana en la colección "Perspectiva" en el año 1966

A reconciliation of empirical and mechanistic models of the air-sea gas transfer velocity

Models of the air-sea transfer velocity of gases may be either empirical or mechanistic. Extrapolations of empirical models to an unmeasured gas or to another water temperature can be erroneous if the basis of that extrapolation is flawed. This issue is readily demonstrated for the most well-known empirical gas transfer velocity models where the influence of bubble-mediated transfer, which can vary between gases, is not explicitly accounted for. Mechanistic models are hindered by an incomplete knowledge of the mechanisms of air-sea gas transfer. We describe a hybrid model that incorporates a simple mechanistic view—strictly enforcing a distinction between direct and bubble-mediated transfer—but also uses parameterizations based on data from eddy flux measurements of dimethyl sulphide (DMS) to calibrate the model together with dual tracer results to evaluate the model. This model underpins simple algorithms that can be easily applied within schemes to calculate local, regional, or global air-sea fluxes of gases.

A reconciliation of empirical and mechanistic models of the air-sea gas transfer velocity

Models of the air-sea transfer velocity of gases may be either empirical or mechanistic. Extrapolations of empirical models to an unmeasured gas or to another water temperature can be erroneous if the basis of that extrapolation is flawed. This issue is readily demonstrated for the most well-known empirical gas transfer velocity models where the influence of bubble-mediated transfer, which can vary between gases, is not explicitly accounted for. Mechanistic models are hindered by an incomplete knowledge of the mechanisms of air-sea gas transfer. We describe a hybrid model that incorporates a simple mechanistic view—strictly enforcing a distinction between direct and bubble-mediated transfer—but also uses parameterizations based on data from eddy flux measurements of dimethyl sulphide (DMS) to calibrate the model together with dual tracer results to evaluate the model. This model underpins simple algorithms that can be easily applied within schemes to calculate local, regional, or global air-sea fluxes of gases.

La evolución de un paratexto singular: las subscriptiones latinas

La historia de las subscriptiones latinas revela alteraciones tanto en su frecuencia como en el tipo de información que transmiten, y en consecuencia también en su función. En un primer momento proporcionan datos escuetos con una finalidad práctica: la identificación del contenido de un libro concreto. En la Antigüedad tardía su número aumenta y transmiten mayor volumen de información, pero sobre todo adquieren relevancia los individuos que las firman, convirtiéndose en un instrumento de autorrepresentación social. Sin embargo, en época posterior estas subscriptiones tardoantiguas se siguen copiando en nuevos manuscritos y pierden su relación inicial con un ejemplar concreto; se transforman en paratextos que contribuyen a dar prestigio, ya no a un libro singular, sino a un autor o una obra.

Towards Night

Sixty artists explore the nocturnal. Curated by Tom Hammick. The evening hour too gives us the irresponsibility which darkness and lamplight bestow. We are no longer quite ourselves. – Virginia Woolf, Street Haunting: A London Adventure, 1930 Towards Night is an exhibition exploring the nocturnal through paintings, prints and drawings by over sixty artists. Drawing on the nineteenth century European Romantic tradition, the show surveys contemporary and historical connections to wonderment and dystopia at dusk, twilight, night and dawn. Towards Night juxtaposes key paintings and prints by Constable, Friedrich, Munch, Nolde, Palmer and Turner, some of the best known visionaries of the Romantic tradition with contemporary artists who work with the transformative aspects of nightfall to convey emotional responses of awe, anxiety and solitude, love and loss, revelry, insomnia, and journey’s end. The exhibition opens with direct and positive responses to the natural world; Marc Chagall’s exotic dreamlike evening in The Poet Reclining (1915) sits close to eighteenth century Indian miniatures depicting brightly painted figures offset against darkening monsoon clouds, and William Crozier’s Balcony at Night, Antibes (2007), of a plant, blue and iridescent against the cool night sky. As the exhibition progresses, the dystopias become darker and more disturbing, and the connections between artists and works intensify: Emma Stibbon’s Rome Aqueduct (2011) takes on a heightened sense of pathos alongside Caspar David Friedrich’s Winter Landscape (1811); Peter Doig’s cinematic Echo Lake (1998) conjures up an increased sense of contemporary angst; and Prunella Clough’s False Flower (1993), a magical tree defying brutalism by growing out of concrete, becomes more miraculous near Night Shift (2015) Nick Carrick’s tomblike high rise. Tom Hammick’s Violetta Alone (2015) and Michael Craig Martin’s Ash Tray (2015), reinforce hedonistic aspects of night-time revelry alongside Four AM, Betsy Dadd’s young woman drinking in the early hours of the morning and L.S. Lowry’s drunken people in a pub in The Crowd (1922). In the final room, a cluster of works explores dreams and insomnia, from Louise Bourgeois’ Spirals (2010) to Munch’s lovers embracing in The Kiss (1902). Tom Hammick, curator of the show said “This exhibition has grown way beyond its original conception, to become a magnificent survey of painting and printmaking from over two hundred years based around the central tenet of night. The exhibition is a kind of painterly response to the way figurative artists use their artistic heroes as starting points for their own work, both compositionally and emotionally.” Artists featured in Towards Night: Christiane Baumgarter, Michael Craig-Martin, Julian Opie, Will Gill, Merlin James, Howard Hodgkin, WillIam Scott, Patrick Caulfield, George Shaw, Stephen Chambers, Basil Beattie, Betsy Dadd, Christopher Le Brun, L.S Lowry, Andrew Cranston, David Willetts, James Fisher, Emma Stibbon, Vija Celmins, William Blake, William Crozier, Tom Hammick, Georgia Keeling, Helen Turner, Humphrey Ocean, Julian Bell, Craigie Aitchison, Mark Wright, Ken Kiff, Matthew Burrows, Andrzej Jackowski, Sarah Raphael, Nick Bodimeade, Nick Carrick, Mary Newcomb, Hurvin Anderson, Peter Doig, Phoebe Unwin, Danny Markey, Sara Lee, Simon Burton, Susie Hamilton, Marc Chagall, Alfred Wallis, Emil Nolde, J.M.W. Turner, Prunella Clough, Samuel Palmer, Louise Bourgeois, Caspar David Friedrich, Alex Katz, Ewan Gibbs, Susie Hamilton, Andrzej Jackowski, Amanda Vesey, Edward Stott, Gertrude Hermes, Rose Wylie, Sidney Nolan, John Constable, J.M.W. Turner, Emil Nolde, Hiroshige, Edvard Munch, Samuel Palmer, Eileen Cooper, Charles Neame-Spencer, Samantha Cary.

Writing disenchantment: British First World War Prose, 1914-30.

This book argues that disenchantment is not only a response to wartime experience, but a condition of modernity with a language that finds extreme expression in First World War literature. The objects of disenchantment are often the very same as the enchantments of scientific progress: bureaucracy, homogenisation and capitalism. Older beliefs such as religion, courage and honour are kept in view, and endure longer than often is realised. Social critics, theorists and commentators of the late nineteenth and early twentieth centuries provide a rich and previously unexplored context for wartime and post-war literature. The rise of the disenchanted narrative to its predominance in the War Books Boom of 1928 – 1930 is charted from the turn of the century in texts, archival material, sales and review data. Rarely-studied popular and middlebrow novels are analysed alongside well-known highbrow texts: D. H. Lawrence, Virginia Woolf, H. G. Wells and Rebecca West rub shoulders with forgotten figures such as Gilbert Frankau and Ernest Raymond. These sometimes jarring juxtapositions show the strained relationship between enchantment and disenchantment in the war and the post-war decade.

The Literature of Disaffection: Political Dysphoria and British Modernism after 1930

This dissertation argues that “disaffection” is an overlooked but foundational posture of mid-twentieth-century British and Anglophone literature. Previously misdiagnosed as quietism or apathy, disaffection instead describes how many late modernist writers mediated between their ideological misgivings and the pressure to respond to dire political crises, from the Second World War to the creation of new postcolonial nations. Stylists of disaffection—such as Henry Green, Virginia Woolf, Elizabeth Bowen, and V. S. Naipaul—grappled with how limiting cultural assumptions, for instance, about class and nation, seemed to inhere in particular aesthetic techniques like stream of consciousness or realism. Disaffected literature appeals to but then disrupts a given technique’s projection of these assumptions and the social totality that they imagine. This literary “bait-and-switch” creates a feeling of dysphoria whereby readers experience a text unnervingly different from what they had been led to expect. Recognizing the formative work of literary disaffection in late modernism offers an original way to conceptualize the transition between modernist and postmodernist literature in the twentieth century.