Left ventricular volume and valve gradient analysis using an Apple Macintosh computer

A description of a computer program to analyse cine angiograms of the heart and pressure waveforms to calculate valve gradients.

A computer-controlled hyperthermia system

Hyperthermia, raised temperature, has been used as a means of treating cancer for centuries. Hippocrates (400 BC) and Galen (200 BC) used red-hot irons to treat small tumours. Much later, after the Renaissance, there are many reports of spontaneous tumour regression in patients with fevers produced by erysipelas, malaria, smallpox, tuberculosis and influenza. These illnesses produce fevers of about 40 °C which last for several days. Temperatures of at least 40 °C were found to be necessary for tumour regression. Towards the end of the nineteenth century pyrogenic bacteria were injected into patients with cancer. In 1896, Coly used a mixture of erysipelas and B. prodigeosus, with some success...

Johnny's in the Basement: Keats, Bob Dylan and Influence

Marggraf Turley, Richard, 'Johnny's in the Basement: Keats, Bob Dylan and Influence', In: 'The Monstrous Debt: Modalities of Romantic Influence in Twentieth Century Literature', (Detroit, MI: Wayne State University Press), pp.181-204, 2006 RAE2008

Approaching the Unapproached Light: Milton and the Romantic Visionary

Shears, J. (2006). Approaching the Unapproached Light: Milton and the Romantic Visionary. In G. Hopps and J. Stabler (Eds.), Romanticism and Religion from William Cowper to Wallace Stevens (pp.25-40). The Nineteenth Century Series. Aldershot: Ashgate. RAE2008

‘Ghosts in the Head and Ghost Towns in the Field: Ethnography and the Experience of Presence and Absence’

This article is about an anthropologist coming to terms with the field and fieldwork. In 1995, I left – was evacuated from – my fieldsite as a volcanic eruption started just as my period of fieldwork drew to a close. These eruptions dramatically and instantaneously altered life on the island of Montserrat, a British colony in the Caribbean. While Montserrat the land, and Montserratians the people, migrated and moved on with their lives, Montserrat and Montserratians were preserved in my mind and in my anthropological writings as from “back home.” Revisiting Montserrat several years into the volcano crisis, I drove through the villages and roads leading to the former capital of the island, where I had worked from. My route to this modern-day Pompeii threw up a stark contrast between absence and presence, the imagined past and the experienced present. This is understood, in part, by examining the literary work of two other travelers through Montserrat, Henry Coleridge and Pete McCarthy, both of whom have a very different experience of the place and the people.

Romanticism and Blackwood's Magazine:'An Unprecedented Phenomenon'

Romanticism and Blackwood's Magazine is inspired by the ongoing critical fascination with Blackwood's Edinburgh Magazine, and the burgeoning recognition of its centrality to the Romantic age. Though the magazine itself was published continuously for well over a century and a half, this volume concentrates specifically on those years when William Blackwood was at the helm, beginning with his founding of the magazine in 1817 and closing with his death in 1834. These were the years when, as Samuel Taylor Coleridge put it in 1832, Blackwood's reigned as 'an unprecedented Phenomenon in the world of letters.' The magazine placed itself at the centre of the emerging mass media, commented decisively on all the major political and cultural issues that shaped the Romantic movement, and published some of the leading writers of the day, including Coleridge, Thomas De Quincey, John Galt, Felicia Hemans, James Hogg, Walter Scott, and Mary Shelley.

'This much-needed volume reminds us not only why Blackwood's was the most influential periodical publication of the time, but also how its writers, writings, and critical agendas continue to shape so many of the scholarly concerns of Romantic studies in the twenty-first century.' - Charles Mahoney, Associate Professor, University of Connecticut, USA

List of Illustrations
Acknowledgements
Abbreviations
Notes on Contributors
'A character so various, and yet so indisputably its own': A Passage to Blackwood's Edinburgh Magazine; R.Morrison & D.S.Roberts
PART I: BLACKWOOD'S AND THE PERIODICAL PRESS
Beginning Blackwood's: The Right Mix of Dulce and Ùtile; P.Flynn
John Gibson Lockhart and Blackwood's: Shaping the Romantic Periodical Press; T.Richardson
From Gluttony to Justified Sinning: Confessional Writing in Blackwood's and the London Magazine; D.Higgins
Camaraderie and Conflict: De Quincey and Wilson on Enemy Lines; R.Morrison
Selling Blackwood's Magazine, 1817-1834; D.Finkelstein
PART II: BLACKWOOD'S CULTURE AND CRITICISM
Blackwood's 'Personalities'; T.Mole
Communal Reception, Mary Shelley, and the 'Blackwood's School' of Criticism; N.Mason
Blackwoodian Allusion and the Culture of Miscellaneity; D.Stewart
Blackwood's Edinburgh Magazine in the Scientific Culture of Early Nineteenth-Century Edinburgh; W.Christie
The Art and Science of Politics in Blackwood's Edinburgh Magazine, c. 1817-1841; D.Kelly
Prosing Poetry: Blackwood's and Generic Transposition, 1820-1840; J.Camlot
PART III: BLACKWOOD'S FICTIONS
Blackwood's and the Boundaries of the Short Story; T.Killick
The Edinburgh of Blackwood's Edinburgh Magazine and James Hogg's Fiction; G.Hughes
'The Taste for Violence in Blackwood's Magazine'; M.Schoenfield
PART IV: BLACKWOOD'S AT HOME
John Wilson and Regency Authorship; R.Cronin
John Wilson and Sport; J.Strachan
William Maginn and the Blackwood's 'Preface' of 1826; D.E.Latané, Jr.
All Work and All Play: Felicia Hemans's Edinburgh Noctes; N.Sweet
PART V: BLACKWOOD'S ABROAD
Imagining India in Early Blackwood's; D.S.Roberts
Tales of the Colonies: Blackwood's, Provincialism, and British Interests Abroad; A.Jarrells
Selected Bibliography
Index

ROBERT MORRISON is Queen's National Scholar at Queen's University, Kingston, Ontario, Canada. His book, The English Opium-Eater: A Biography of Thomas De Quincey was a finalist for the James Tait Black Prize. He has edited writings by Jane Austen, Leigh Hunt, Thomas De Quincey, and John Polidori.
DANIEL SANJIV ROBERTS is Reader in English at Queen's University Belfast, UK. His publications include a monograph, Revisionary Gleam: De Quincey, Coleridge, and the High Romantic Argument (2000), and major critical editions of Thomas De Quincey's Autobiographic Sketches and Robert Southey's The Curse of Kehama; the latter was cited as a Distinguished Scholarly Edition by the MLA. He is currently working on an edition of Charles Johnstone's novel The History of Arsaces, Prince of Betlis for the Early Irish Fiction series.

O terrível nascimento da beleza: a criação literária em diversos autores

De onde brota a inspiração para baladas de amor e canções de guerra, lendas e narrativas, tragédias e comédias? Ao longo de séculos, escritores e leitores interrogaram-se acerca do nascimento da beleza. Neste artigo, abordo essa questão intrigante, em quatro etapas: a) Examino algumas personificações criadas por Hesíodo, Homero, Luís de Camões e Federico García Lorca para descreverem a inspiração; b) Exploro as estratégias utilizadas por Samuel Coleridge, Salvador Dalí e William Burroughs, para penetrar no reino da fantasia, o inconsciente; c) Apresento as explicações científicas propostas por Sigmund Freud, Carl Jung e Robert Sperry para o impulso criativo; d) Para concluir, menciono as razões que levaram Fernando Pessoa, Eugénio de Andrade e Emily Dickinson a desconfiarem da musa inspiradora, preferindo o esforço que corrige a emoção e gera a obra de arte. Seguindo uma perspectiva comparada, o meu objectivo é mostrar diferentes formas de perceber a criatividade literária. Para tanto, recorro ao trabalho dos escritores e cientistas atrás mencionados e, naturalmente, à minha opinião.

Paper Dinosaurs : field notes as finds in Robert Kroetsch's Badlands

Des dinosaures sur papier : des notes « sur le terrain » comme on en trouve dans le Badlands de Robert Kroetsch passe en revue cette œuvre postmoderne de 1975 portant sur une expédition paléontologique fictive près de la rivière Red Deer, en Alberta, conformément à la récente tendance à exiger la vérification systématique des données à la base des récits métafictifs historiographiques dans la littérature canadienne-anglaise. Inspirée de l’exploration canonique qu’a effectuée John Livingston-Lowes des plus grands poèmes de Samuel Taylor Coleridge par le biais de la mine d’or du Gutch Memorandum Book dans The Road to Xanadu, cette thèse entreprend un nouveau type de recherche qui se démarque des archives conventionnelles et de la tradition documentaire. S’appuyant sur des documents holographes non publiés provenant de dépôts d’archives situés au Québec, en Ontario et en Alberta et écrits par des collecteurs, des géologues et des paléontologues de la Commission géologique du Canada, ainsi que sur des notes « sur le terrain », des notes de recherche et des journaux personnels écrits par Robert Kroetsch pendant la rédaction de son roman Badlands, cet examen critique révèle les strates sous-jacentes inédites d’une œuvre de fiction particulière. Dans pratiquement toute fouille paléontologique, le retrait de ce qui enveloppe un spécimen révèle souvent des données supplémentaires qui peuvent, si elles sont soigneusement interprétées, offrir des indices essentiels sur les environnements paléontologiques. Ainsi, un squelette de dinosaure est rarement retiré d’une carrière stérile dans son intégralité. Il en va de même pour toute recherche sur un processus littéraire. Aucun texte ne s’autosuffit. Comme Kroetsch s’est efforcé de produire son récit sous forme d’interrogation sur la création et la transmission des données historiques, particulièrement grâce à des notes « sur le terrain », une vaste étude de ce « terrain » comprenant des intertextes de l’Antiquité, des sciences, de l’Histoire, de l’histoire populaire, de récits de voyages et de la littérature canadienne et internationale est ici menée. On y fait librement référence à des périodes et à des auteurs très diversifiés, allant de Thomas Jefferson et des tombelles à Bruce Chatwin et sa peau de « brontosaure ». Évidemment, aucune entreprise interdisciplinaire du genre ne peut être exhaustive. Ce projet se veut plutôt une vitrine littéraire réunissant des curiosités autour d’une œuvre principale, soit le Badlands de Robert Kroetsch. Réduites à leur plus simple expression, les notes « sur le terrain » constituent des messages destinés à la postérité. En explorant trois thèmes principaux, cette thèse explique comment ces messages pourraient être transmis. « Saxa Loquuntur ! », ainsi intitulé en référence à l’analogie de Freud avec l’archéologie, traite des métaphores associées aux témoignages de la pierre ; « Good Jones » porte sur les façons dont la taxinomie peut combler le désir d’un chercheur d’os de ne pas tomber dans l’oubli ; « Box 16 » suit une piste documentaire en parcourant les écrits de Kroetsch pour reconstituer tant l’élaboration d’un roman que les notions de temps, d’espace et d’origine d’une œuvre littéraire.

Tratamiento de la ulcera venosa con escleroespuma versus manejo conservador

La úlcera venosa es una revelación clínica severa de la insuficiencia venosa crónica. Es la causa del 54-76% de las úlceras venosas de miembros inferiores. La ciencia médica ha generado diversos procedimientos en el manejo de esta patología, es así como a partir de conocimientos en fisiopatología de la ulceración venosa, se han aplicado procedimientos como opción de tratamiento. Objetivos: Valorar si el uso de rutina de la oclusión endoluminal con espuma guiada por ecografía del sistema venoso superficial insuficiente, en adicción al manejo convencional de la ulcera venosa (vendaje no compresivo, gasa vaselinada y curaciones) podría mejorar la tasa de curación a las 24 semanas de tratamiento. Diseño: Estudio clínico aleatorizado prospectivo de pacientes de la consulta externa de cirugía vascular del Hospital Occidente de Kennedy-Bogotá, durante el 01 de junio del 2011 hasta el 30 junio del 2012. Métodos: Un total de 44 pacientes con ulcera activa que cumplieron criterios de selección ingresaron al estudio, correspondientes a 48 extremidades con clasificación CEAP (C6), los pacientes fueron a aleatorizados a manejo convencional (control) o con manejo adicional de oclusión endoluminal con espuma eco-guiada. El objetivo principal fue el cierre de la ulcera a las 24 semanas. Resultados: La Curación de la ulcera a las 24 semanas de la aleatorización fue de 20 (83.3%) extremidades del grupo de oclusión endoluminal con espuma eco-guiada Vs 3(12.5%) para el grupo de control P: 0.0005 Discusión: Las tasas de curación de la ulcera luego de la oclusión endoluminal con espuma eco-guiada es muy superior al manejo convencional con curaciones y vendaje no compresivo, las tasa de curación son tan altas como las reportadas con sistemas de alta compresión y cirugía a las 24 semanas. La oclusión endoluminal eco-guiada es segura, mínimamente invasiva y clínicamente efectiva.

El abismo lógico (Borges y los filósofos de las ideas)

Este libro explora un fenómeno que se repite en algunos textos del escritor argentino Jorge Luis Borges (1899-1986). Está compuesto por nueve capítulos, que corresponden al análisis de la reescritura de nueve distintas propuestas filosóficas. Las propuestas están cobijadas bajo la misma doctrina: el idealismo. Es un libro que se escribe para validar la propuesta de un método de lectura que cuenta a la vez con una dosis de ingenio y con planteamientos rigurosos, permitiendo así un tipo de análisis que, siendo sistemático, es también lúdico, conservando de este modo las funciones fundamentales de la literatura. No pocas conjeturas ha habido acerca de las intenciones de Borges o de sus creencias.El texto propone análisis novedosos de los cuentos de Borges y reevalúa y critica algunos análisis existentes elaborados por diferentes comentaristas. El tipo de análisis propuesto se haría extensivo a otros cuentos de Borges y a otros autores. Es un texto que se esfuerza por tomar distancia de las interpretaciones existentes que hay sobre la obra de Borges y de proponer nuevas lecturas siguiendo un cierto rigor interpretativo. Las conclusiones finales sitúan la propuesta del libro en el centro de debates contemporáneos de la literatura como la muerte del autor, los límites de la interpretación y la intertextualidad. La misma propuesta se encarga de establecer su relación y su distancia con los comentaristas reconocidos y se aparta de propuestas interpretativas pasadas de moda. La aproximación al tema, además, vincula el análisis literario con la historia de la filosofía, haciéndolo interesante para un público más amplio.El texto propone análisis novedosos de los cuentos de Borges y reevalúa y critica algunos análisis existentes elaborados por diferentes comentaristas. El tipo de análisis propuesto se haría extensivo a otros cuentos de Borges y a otros autores. Es un texto que se esfuerza por tomar distancia de las interpretaciones existentes que hay sobre la obra de Borges y de proponer nuevas lecturas siguiendo un cierto rigor interpretativo. Las conclusiones finales sitúan la propuesta del libro en el centro de debates contemporáneos de la literatura como la muerte del autor, los límites de la interpretación y la intertextualidad. La misma propuesta se encarga de establecer su relación y su distancia con los comentaristas reconocidos y se aparta de propuestas interpretativas pasadas de moda. La aproximación al tema, además, vincula el análisis literario con la historia de la filosofía, haciéndolo interesante para un público más amplio.

Comparación de cambios clínicos y hemodinámicos en pacientes con insuficiencia venosa mixta según tipo de manejo.

Existen varias causas de la insuficiencia venosa profunda, la insuficiencia venosa superficial es una de ellas; por tal motivo, una intervención activa de la insuficiencia superficial ya sea cirugía convencional, esclerosis o radiofrecuencia mejora el reflujo del sistema venoso profundo. En nuestro medio no se acostumbra a intervenir los pacientes con insuficiencia venosa mixta bajo la creencia de exacerbar la enfermedad o generar complicaciones. Se pretende documentar los cambios clínicos y hemodinámicos en pacientes con insuficiencia venosa mixta según tipo de manejo, médico vs quirúrgico

O leitor nas trilhas do texto: um diálogo entre a teoria de Umberto Eco e a poética da leitura de Jorge Luis Borges

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Not in the Legends

In writing “Not in the Legends”, one of the images and concepts which constantly returned was that of pilgrimage. I began to write these poems while studying abroad in London, after having passed the previous semester in France and travelling around Europe. There was something in the repetition of sightseeing— walking six miles in Luxembourg to see the grave of General Patton, taking photographs of the apartment where Sylvia Plath ended her life, bowing before the bones of saints, searching through Père Lachaise for the grave of Théodore Gericault— which struck me as numinous and morbid. At the same time, I came to love living abroad and I grew discontent with both remaining and returning. I wanted the opportunity to live everywhere all the time and not have to choose between home and away. Returning from abroad, I turned my attention to the landscape of my native country. I found in the New England pilgrims a narrative of people who had left their home in search of growth and freedom. In these journeys I began to appreciate the significance of place and tried to understand what it meant to move from one place to another, how one chose a home, and why people searched for meaning in specific locations. The processes of moving from student to worker and from childhood to adulthood have weighed on me. I began to see these transitions towards maturity as travels to a different land. Memory and nostalgia are their own types of pilgrimage in their attempts to return to lost places, as is the reading of literature. These pilgrimages, real and metaphorical, form the thematic core of the collection. I read the work of many poets who came before me, returning to the places where the Canon was forged. Those poets have a large presence in the work I produced. I wondered how I, as a young poet, could earn my own place in the tradition and sought models in much the same way a painter studies the brushstrokes of a master. In the process, I have tried to uncover what it means to be a poet. Is it something like being a saint? Is it something like being a colonist? Or is to be the one who goes in search of saints and colonists? In trying to measure my own life and work based on the precedent, I have questioned what role era and generation have on the formation of identity. I focused my reading heavily on the early years of English poetry, trying to find the essence of the time when the language first achieved the transcendence of verse. In following the development of English poetry through Coleridge, John Berryman, and Allison Titus, I have explored the progression of those basic virtues in changing contexts. Those bearings, applied to my modern context, helped to shape the poetry I produced. Many of the poems in “Not in the Legends” are based on my own personal experience. In my recollections I have tried to interrogate nostalgia rather than falling into mere reminiscence. Rather than allowing myself poems of love and longing, I have tried to find the meaning of those emotions. A dominant conflict exists between adventure and comfort which mirrors the central engagement with the nature of being “here” or “there”. It is found in scenes of domesticity and wilderness as I attempt to understand my own simultaneous desire for both. For example, in “Canned Mangoes…” the intrusion of nature, even in a context as innocuous as a poem by Sir Walter Raleigh, unravels ordinary comforts of the domestic sphere. The character of “The Boy” from Samuel Beckett’s Waiting for Godot proved such an interesting subject for me because he is one who can transcend the normal boundaries of time and place. The title suggests connections to both place and time. “Legends” features the dual meaning of both myths and the keys to maps. To propose something “Not in the Legends” is to find something which has no precedent in our histories and our geographies, something beyond our field of knowledge and wholly new. One possible interpretation I devised was that each new generation lives a novel existence, the future being the true locus of that which is beyond our understanding. The title comes from Keats’ “Hyperion, a Fragment”, and details the aftermath of the Titanomachy. The Titans, having fallen to the Olympians, are a representation of the passing of one generation for the next. Their dejection is expressed by Saturn, who laments: Not in my own sad breast, Which is its own great judge and searcher out, Can I find reason why ye should be thus: Not in the legends of the first of days… (129-132) The emotions of the conquered Titans are unique and without antecedent. They are experiencing feelings which surpass all others in history. In this, they are the equivalent of the poet who feels that his or her own sufferings are special. In contrast are Whitman’s lines from “Song of Myself” which serve as an epigraph to this collection. He contends for a sense of continuity across time, a realization that youth, age, pleasure, and suffering have always existed and will always exist. Whitman finds consolation in this unity, accepting that kinship with past generations is more important that his own individuality. These opposing views offer two methods of presenting the self in history. The instinct of poetry suggests election. The poet writes because he feels his experiences are special, or because he believes he can serve as a synecdoche for everyone. I have fought this instinct by trying to contextualize myself in history. These poems serve as an attempt at prosopography with my own narrative a piece of the whole. Because the earth abides forever, our new stories get printed over the locations of the old and every place becomes a palimpsest of lives and acts. In this collection I have tried to untangle some of those layers, especially my own, to better understand the sprawling legend of history.