Corporeal prisons: dynamics of body and mise-en-scène in three films by Paul Schrader

This thesis focuses on the complex relationship between representations of the human body and the formal processes of mise-en-scène in three consecutive films by the writer-director Paul Schrader: American Gigolo (1980), Cat People (1982) and Mishima: A Life in Four Chapters (1985). While Schrader’s work has typically been critiqued under the broad category of masculinity in crisis (and often as a subset of the films of his more famous long-time collaborator, Martin Scorsese), I focus on a fiveyear early period of his filmography when he sought to explore his key themes of bodily crisis, fragmentation and alienation through an unusually intense focus upon the expressive potential of film form, specifically via the combined elements of colour, lighting, camerawork and production design. By approaching these three films as corporeal character studies of troubled figures whose emotional and psychosexual neurosis is experienced in and through the body, I will locate Schrader’s filmmaking process and style within the thematic and aesthetic contexts of both his own early film criticism and the European and Japanese art cinemas that he claims as his primary influence. In doing so, I will establish Schrader’s position as a director whose literary and theological background differentiated him from his peers of the postclassical Hollywood generation, and who thus continually sought to develop his own visual literacy through his relationship with the camera and his collaborations with more overtly style-oriented film artists. But instead of merely focusing on mise-en-scène to gain a formalist appreciation of these films, I mobilise stylistic analysis as a new critical approach towards the problematic discourses of identity and embodiment that have haunted Schrader’s career from the beginning. In particular, I argue that paying closer attention to Schrader’s formal choices sheds new light on how these films – which he approached as exercises in style – repeatedly deal with the volatile and unavoidably body-oriented categories of race, gender and sexuality. In the process, I argue that a formalist attentiveness to mise-en-scène can also provide valuable cultural insights into Schrader’s oeuvre.

Resolved Torsional Splittings in the ν18 and ν19- Bands of Propene

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Jean-Paul Sartre

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Sur Jean-Paul Sartre: raisons dialectiques américaines

Paris

Stiftsherren und Vikare des Kollegiatstifts St. Peter und Paul in Zeitz 1400–1564.

Der hier publizierte Personenkatalog ist Teil des Anhangs der im Januar 2008 von Matthias Ludwig an der Martin-Luther-Universität Halle-Wittenberg eingereichten Magisterarbeit „Das Personal der Naumburger Domkirche und der Zeitzer Stiftskirche 1400–1564. Ein prosopographischer Beitrag zur mitteldeutschen Stiftskirchenforschung“. Ausgangspunkt der Arbeit war die Frage nach der Zusammensetzung der beiden geistlichen Gemeinschaften in Naumburg und Zeitz hinsichtlich eines vorgegebenen Rasters, bestehend aus den Kriterien Herkunft, Standeszugehörigkeit, Bildung, Karriereprofil, Weihegrade und personelle Netzwerke. Das zugrunde liegende biografische Material für Zeitz wurde vor allem aus der stiftischen Überlieferung selbst erhoben, deren wesentlicher Träger das Archiv des ehemaligen Kollegiatstifts ist, das heute zum Bestand des Stiftsarchivs und der Stiftsbibliothek Zeitz gehört. Es umfasst Angaben zu insgesamt 277 Stiftsherren und Vikaren, die für den Zeitraum von 1400 bis 1564 nachgewiesen werden konnten.

Surface-electrode point Paul trap

We present a model as well as experimental results for a surface electrode radiofrequency Paul trap that has a circular electrode geometry well suited for trapping single ions and two-dimensional planar ion crystals. The trap design is compatible with microfabrication and offers a simple method by which the height of the trapped ions above the surface may be changed in situ. We demonstrate trapping of single Sr88+ ions over an ion height range of 200-1000 μm for several hours under Doppler laser cooling and use these to characterize the trap, finding good agreement with our model. © 2010 The American Physical Society.

THE DISTINCTIVE VOICE OF PAUL HINDEMITH THROUGH THE VIOLA

Paul Hindemith has made numerous contributions to the viola, both as a composer and performer. As a composer, he has written 7 sonatas for the viola, as well as a number of chamber and orchestral works which feature the viola as a solo instrument. As a violist, Hindemith was one of the only virtuoso soloists of his lifetime, and premiered virtually all of his solo compositions. Many of his pieces remain an integral part of the viola repertoire; Der Schwanendreher is one of the three major Twentieth-Century concertos for the viola. While some of his pieces are well-known, there are many others which are not performed with much frequency, due in part to the sheer output of this prolific composer. In this dissertation project, I performed Hindemith's compositions for the viola as a solo instrument. Consideration was given to exclusively performing his 4 solo sonatas and 3 sonatas for viola and piano. His only viola duet, his only non-sonata written for viola and piano, and 2 of his viola concertos (Der Schwanendreher and Trauermusik) were included in this dissertation project to provide contrast and supplement the three recital programs. Through this dissertation project I have been able to gain a deeper understanding of the complex language of Hindemith and interpret his music in an approach that is accessible to both the performer and the audience. All performances took place in the Gildenhom Recital Hall and Ulrich Recital Hall at the University of Maryland. All collaborations with piano were performed with Eliza Ching. The Duett for Viola and Violoncello was performed with Daniel Shomper, and the assisting musicians performing in the Trauermusik were Joel Ciaccio, Daniel Sender, Daniel Shomper, Cassandra Stephenson and Dana Weiderhold.

The Many Faces of Paul Hindemith

The purpose of this project is to present selected violin pieces by Paul Hindemith (1895-1963) against a backdrop of the diverse styles and traditions that he integrated in his music. For this dissertation project, selected violin sonatas by Hindemith were performed in three recitals alongside pieces by other German and Austro-German composers. These recitals were also recorded for archival purposes. The first recital, performed with pianist David Ballena on December 10, 2005, in Gildenhorn Recital Hall at the University of Maryland, College Park, included Violin Sonata Op.11, No. 1 (1918) by Paul Hindemith, Sonatina in D Major, Op. 137 (1816) by Franz Schubert, and Sonata in E-flat Major, Op.18 (1887) by Richard Strauss. The second recital, performed with pianist David Ballena on May 9, 2006, in Gildenhorn Recital Hall at the University of Maryland, included Sonata in E Minor, KV 304 (1778) by Wolfgang Amadeus Mozart, Sonata in E (1935) by Paul Hindemith, Romance for Violin and Orchestra No.1 in G Major (1800-1802) by Ludwig Van Beethoven, and Sonata for Violin and Piano in A minor, Op. 105 (1851) by Robert Schumann. The third recital, performed with David Ballena and Kai-Ching Chang on November 10, 2006 in Ulrich Recital Hall at the University of Maryland, included Violin Sonata Op.12 No.1 in D Major (1798) by Ludwig Van Beethoven, Sonata for Violin and Harpsichord No.4 in C Minor BWV 1017 (1720) by J.S. Bach, and Violin Sonata Op.11 No.2 (1918) by Paul Hindemith. For each of my dissertation recitals, I picked a piece by Hindemith as the core of the program then picked pieces by other composers that have similar key, similar texture, same number of movements or similar feeling to complete my program. Although his pieces used some classical methods of composition, he added his own distinct style: extension of chromaticism; his prominent use of interval of the fourth; his chromatic alteration of diatonic scale degrees; and his non-traditional cadences. Hindemith left behind a legacy of multi-dimensional, and innovative music capable of expressing both the old and the new aesthetics.

The prognosis of incurable cachectic cancer patients on home parenteral nutrition: A multi-centre observational study with prospective follow-up of 414 patients

Background: The role of home parenteral nutrition (HPN) in incurable cachectic cancer patients unable to eat is extremely controversial. The aim of this study is to analyse which factors can influence the outcome. Patients and methods: We studied prospectively 414 incurable cachectic (sub)obstructed cancer patients receiving HPN and analysed the association between patient or clinical characteristics and surviving status. Results: Median weight loss, versus pre-disease and last 6-month period, was 24% and 16%, respectively. Median body mass index was 19.5, median KPS was 60, median life expectancy was 3 months. Mean/median survival was 4.7/3.0 months; 50.0% and 22.9% of patients survived 3 and 6 months, respectively. At the multivariable analysis, the variables significantly associated with 3- and 6-month survival were Glasgow Prognostic Score (GPS) and KPS, and GPS, KPS and tumour spread, respectively. By the aggregation of the significant variables, it was possible to dissect several classes of patients with different survival probabilities. Conclusions: The outcome of cachectic incurable cancer patients on HPN is not homogeneous. It is possible to identify groups of patients with a ≥6-month survival (possibly longer than that allowed in starvation). The indications for HPN can be modulated on these clinical/biochemical indices. © The Author 2013. Published by Oxford University Press on behalf of the European Society for Medical Oncology. All rights reserved.

Contribution of PPD/HBHA Interferon-gamma Release Assay for the Detection of Mycobacterium tuberculosis Infection in HIV Infected Patients

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Imátgenes 19, 20 y 21

Por quinta vez puso cuatro motas de tinta en el papel, les puso nombres (A, B, C, D) y los unió con segmentos para formar un cuadrilátero. Luego señaló los puntos medios de sus cuatro lados y los conectó formando otro cuadrilátero (P, Q, R, S). Ahí estaba el problema. Ese cuadrilátero interior siempre resultaba ser un paralelogramo pusiera como pusiera los cuatro puntos originales. ¿Acaso había orden en el caos? Por un momento pensó que quizá había truco, que tal vez sucedía así porque la gente ponía los puntos de formas similares. Pero ya había probado configuraciones muy raras, incluso dejó que los segmentos del cuadrilátero ABCD se interceptasen, y siempre obtenía idéntico resultado. No, lo que parece cumplirse para cualquier caso no es ningún truco, sino un teorema que demostrar.

La polémica entre bonaventura cavalieri y Paul Guldin o jesuatos contra jesuitas sobre los indivisibles

Se analiza la polémica entre Cavalieri y Guldin sobre el concepto de lo indivisible.

[Recording review] Paul Hindemith, Die Harmonie der Welt, soloists, Rundfunkchor Berlin, Rundfunk-Sinfonieorchester Berlin, conductor Marek Janowski

Tony Mann provides a review of the recording: Paul Hindemith, Die Harmonie der Welt [opera], soloists, Rundfunkchor Berlin, Rundfunk-Sinfonieorchester Berlin, conductor Marek Janowski. Wergo 6652-2 (160 minutes, 3CDs priced as two)