Kwestie kobiece w czesko-słowackiej refleksji filmowej po 1989 roku

Tekst stanowi krytyczną rekapitulację refleksji filmoznawczej prowadzonej w Czechach i Słowacji a dotykającej problematyki tzw. ženskej otázki (kwestii kobiecej). Myśl feministyczna i genderowa pojawiła się w refleksji publicznej i naukowej dopiero po Aksamitnej Rewolucji, napotykając na wstrzemięźliwą i zdystansowaną reakcję środowisk naukowych i twórczych. Dotychczasowa niezbyt rozbudowana refleksja nad kwestiami kobiecymi w kinie czeskim i słowackim, reprezentuje wczesny etap feminizmu akademickiego. Czesko-słowackie women’s studies skupiają się na gromadzeniu wiedzy dotyczącej historii, kultury, życia społecznego i politycznego kobiet. W centrum swojego dyskursu sytuują analizę wizerunków kobiecych, przede wszystkim we wczesnym kinie, rozważania nad kategorią kobiecości, jej specyfiką i przeobrażeniami dokonującymi się w procesie historycznym. Tymczasem w dokonaniach kinematografii Czech i Słowacji coraz większą rolę odgrywają kobiety reżyserki. Współczesne kino kobiet jest tu wyraźnie dostrzegalnym w swojej specyfice jakościowej i ilościowej zjawiskiem artystycznym, który na razie pozostaje obszarem nieeksplorowanym w czesko-słowackiej myśli filmoznawczej ukierunkowanej feministycznie i genderowo.

Przegląd dotychczasowych badań nad związkami cech osobowości nauczycieli i uczniów z procesem nauczania / uczenia się

Poniższy artykuł oparty jest na dwóch pozycjach: Psychologia dla nauczycieli Davida Fontana oraz Individual differences in second language learning Petera Skehana i stanowi podstawę teoretyczną dla jednego z tandemów badawczych, w projekcie dotyczącym autonomizacji procesu uczenia się / nauczania. Techniką wykorzystaną w doświadczeniu jest rozwinięta forma znanej w metodyce techniki role play do postaci role playing game. (gry fabularne). Celem doświadczenia jest sprawdzenie skuteczności tejże techniki w kształtowaniu autokontroli i autokorekty, jako elementów Indywidualnej Kompetencji Komunikacyjnej w powiązaniu z cechami osobowości.

Accents of Chopin anniversaries in territories annexed by Prussia

This article discusses the way in which the Chopin Year of 1910 was celebrated in Wielkopolska. It presents a script prepared in the nineteenth century and shows similarities with celebrations of Mickiewicz and other Polish heroes and artists. Invariably used in such commemorations was a “symbolic capital” that made it easier to create an intergenerational code, thereby disseminating knowledge of national culture and history. A significant role was played in 1910 by a centenary panel, which produced “Guidelines for popular Chopin celebrations” and also many occasional, popular materials. Chopin’s induction into the national pantheon involved the use of audio material (vocal and instrumental concerts), verbal material (articles, poems, lectures and brochures) and also a visual code (anniversary window stickers, tableaux vivants or tableaux illuminés). Illuminated pictures – recommended by a catalogue of slides produced in Poznań – stimulated the imagination of the masses and served as a guide through the composer’s life and work, and their impact was enhanced by a commentary. Most of the living pictures were probably inspired by Henryk Siemiradzki’s canvas Chopin grający na fortepianie w salonie księcia Radziwiłła [Chopin playing the piano in Prince Radziwiłł’s salon] and Józef Męcina Krzesz’s painting Ostatnie akordy Chopina [Chopin’s last chords]. This combination of codes made it possible to create a model adapted to the times and to the expectations of a mass audience. The Chopin anniversary, in which admiration was inseparably intertwined with manipulation, was a pretext for strengthening the national identity.

As barreiras urbanas no tecido da cidade

Dissertação apresentada à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Mestre em Arquitetura e Urbanismo

Sleep Patterns in Elementary School Children (Grades 2-5) and Adolescents (Grade 10)

Background: To date, there is limited research examining sleep patterns in elementary school children. Previous researchers focused on parental responses rather than student responses to determine factors that affect sleep. The presented study surveyed sleep patterns and examined external factors affecting total sleep time among elementary school children and adolescents. Methods: Students in grades 2-5 (n=885) and grade 10 (n=190) enrolled in a public school system in the Northeast, completed a district administered survey that included questions on sleep duration and hygiene. Results. Average reported sleep duration decreased with increasing grade level. Children in grades 2-5 woke up earlier (31.7-72.4%) and on their own in comparison to adolescents in grade 10 (6.8%). Significantly shorter sleep durations were associated with having a television (grades 2, 4, 5, p< 0.01) or a cell phone in the room (grades 3, 4; p < 0.05), playing on the computer or video games (grades 3, 4, p<.001) before going to bed. In contrast, students in grade 2, 3, & 4 who reported reading a book before going to bed slept on average 21 minutes more per night (p=.029, .007, .009, respectively). For tenth graders, only consumption of energy drinks led to significant reduction in sleep duration (p<.0001). Conclusion. Sleep is a fundamental aspect in maintaining a healthy and adequate life style. Understanding sleep patterns will assist parents, health care providers, and educators in promoting quality sleep hygiene in school-aged children.

Object Oriented Animation on the World Wide Web

This report describes our attempt to add animation as another data type to be used on the World Wide Web. Our current network infrastructure, the Internet, is incapable of carrying video and audio streams for them to be used on the web for presentation purposes. In contrast, object-oriented animation proves to be efficient in terms of network resource requirements. We defined an animation model to support drawing-based and frame-based animation. We also extended the HyperText Markup Language in order to include this animation mode. BU-NCSA Mosanim, a modified version of the NCSA Mosaic for X(v2.5), is available to demonstrate the concept and potentials of animation in presentations an interactive game playing over the web.

Basis Token Consistency: A Practical Mechanism for Strong Web Cache Consistency

With web caching and cache-related services like CDNs and edge services playing an increasingly significant role in the modern internet, the problem of the weak consistency and coherence provisions in current web protocols is becoming increasingly significant and drawing the attention of the standards community [LCD01]. Toward this end, we present definitions of consistency and coherence for web-like environments, that is, distributed client-server information systems where the semantics of interactions with resource are more general than the read/write operations found in memory hierarchies and distributed file systems. We then present a brief review of proposed mechanisms which strengthen the consistency of caches in the web, focusing upon their conceptual contributions and their weaknesses in real-world practice. These insights motivate a new mechanism, which we call "Basis Token Consistency" or BTC; when implemented at the server, this mechanism allows any client (independent of the presence and conformity of any intermediaries) to maintain a self-consistent view of the server's state. This is accomplished by annotating responses with additional per-resource application information which allows client caches to recognize the obsolescence of currently cached entities and identify responses from other caches which are already stale in light of what has already been seen. The mechanism requires no deviation from the existing client-server communication model, and does not require servers to maintain any additional per-client state. We discuss how our mechanism could be integrated into a fragment-assembling Content Management System (CMS), and present a simulation-driven performance comparison between the BTC algorithm and the use of the Time-To-Live (TTL) heuristic.

Music Maker – A Camera-based Music Making Tool for Physical Rehabilitation

The therapeutic effects of playing music are being recognized increasingly in the field of rehabilitation medicine. People with physical disabilities, however, often do not have the motor dexterity needed to play an instrument. We developed a camera-based human-computer interface called "Music Maker" to provide such people with a means to make music by performing therapeutic exercises. Music Maker uses computer vision techniques to convert the movements of a patient's body part, for example, a finger, hand, or foot, into musical and visual feedback using the open software platform EyesWeb. It can be adjusted to a patient's particular therapeutic needs and provides quantitative tools for monitoring the recovery process and assessing therapeutic outcomes. We tested the potential of Music Maker as a rehabilitation tool with six subjects who responded to or created music in various movement exercises. In these proof-of-concept experiments, Music Maker has performed reliably and shown its promise as a therapeutic device.

Investigation of toll-like receptor tolerance in the regulation of inflammation

Inflammation is a complex and highly organised immune response to microbes and tissue injury. Recognition of noxious stimuli by pathogen recognition receptor families including Toll-like receptors results in the expression of hundreds of genes that encode cytokines, chemokines, antimicrobials and regulators of inflammation. Regulation of TLR activation responses is controlled by TLR tolerance which induces a global change in the cellular transcriptional expression profile resulting in gene specific suppression and induction of transcription. In this thesis the plasticity of TLR receptor tolerance is investigated using an in vivo, transcriptomics and functional approach to determine the plasticity of TLR tolerance in the regulation of inflammation. Firstly, using mice deficient in the negative regulator of TLR gene transcription, Bcl-3 (Bcl-3-/-) in a model of intestinal inflammation, we investigated the role of Bcl-3 in the regulation of intestinal inflammatory responses. Our data revealed a novel role for Bcl-3 in the regulation of epithelial cell proliferation and regeneration during intestinal inflammation. Furthermore this data revealed that increased Bcl-3 expression contributes to the development of inflammatory bowel disease (IBD). Secondly, we demonstrate that lipopolysaccharide tolerance is transient and recovery from LPS tolerance results in polarisation of macrophages to a previously un-described hybrid state (RM). In addition, we identified that RM cells have a unique transcriptional profile with suppression and induction of genes specific to this polarisation state. Furthermore, using a functional approach to characterise the outcomes of TLR tolerance plasticity, we demonstrate that cytokine transcription is uncoupled from cytokine secretion in macrophages following recovery from LPS tolerance. Here we demonstrate a novel mechanism of regulation of TLR tolerance through suppression of cytokine secretion in macrophages. We show that TNF-α is alternatively trafficked towards a degradative intracellular compartment. These studies demonstrate that TLR tolerance is a complex immunological response with the plasticity of this state playing an important role in the regulation of inflammation.

"Farò quel che me piacerà": Fictional women in villotta voice resistance

Published Version

THE EFFECT OF A PROGRAM OF PORTABLE ELECTRONIC PIANO KEYBOARD EXPERIENCE ON THE ACQUISITION OF SIGHT-SINGING SKILL IN THE NOVICE HIGH SCHOOL CHORUS

The problem was to determine whether a method of aural and visual vocal training that included a program of portable electronic piano keyboard experience would be more effective in teaching sight-singing skills to novice high school chorus students than a method that included only aural and visual vocal training. A sub-problem was to determine whether novice chorus students enjoyed playing electronic keyboards in chorus as a reinforcement experience in sight-singing training. Students were randomly assigned to two treatment groups, tested with the Musical Aptitude Profile, Tonal Imagery, part A, and then trained separately. The experimental group sang repetitions of melodic patterns and utilized techniques associated with the Kodály Method while simultaneously playing keyboard. The comparison group received a similar treatment without using keyboards. The students were pre- and post-tested in sight-singing using the Vocal Sight-Reading Inventory. Results of the Analysis of Covariance using MAP scores as the covariate revealed no significant difference (p<.05) between post-test scores of the two groups. Improvement was noted in 96% of students from pre-test to post-test regardless of grouping. The repeated measures ANOVA revealed a significant relationship (p<.006) between aptitude group and post-test score. High aptitude students in both groups were found to benefit more from the training than low aptitude students. High aptitude keyboard group students achieved an average gain score that was 8.67 points higher than the comparison group. Of the total experimental group, 92% enjoyed playing keyboards in chorus. It is recommended that future research be undertaken to study the use of keyboards with advanced high school choruses and with uncertain singers in the high school chorus. Research is also needed to develop graded, valid, and reliable sight-singing tests for use in high school chorus. Techniques of the Kodály Method should be further investigated for use in high school sight-singing training.

VERSATILITY IN THE MODERN PERFORMER: THREE DIVERSE OPERA ROLES

This dissertation project consisted of performances of three diverse operatic roles. The goal was to examine the challenges and benefits of performing diverse repertoire (baroque, classical, and romantic opera, in this case) and to observe how vocal and acting techniques might adjust to different styles and voice classifications. On December 3, 5, 11, and 13,2003, I performed a composite role in Fatal Song, directed by Leon Major, in the Robert & Arlene Kogod Theatre. This opera pastiche, premiered in 1996, contains spoken dialogue, and the music originates from famous eighteenth and nineteenth-century operas. I explored the challenges and benefits of playing three different, well-known opera characters within the same opera, performing four different languages within the same opera, and performing spoken dialogue in an opera. My roles in this pastiche of famous opera included Lucia from Lucia di Lammermoor by Gaetano Donizetti, Manon from Manon by Jules Massenet, and Pamina from Die ZauberJlote by W.A. Mozart. On January 28 and 29, 2005, I performed the role of Nice in Eurilla e Alcindo, a serenata by Antonio Vivaldi, in Homer Ulrich Recital Hall; musical direction by Joseph Gascho and stage direction by Kate Vetter Cain. I explored the challenges and benefits of preparing baroque ornamentation, singing without a conductor, performing an unknown work, staging a work that is not traditionally staged, singing with minimal sets and costumes, and singing with period instruments. On April 16,20, and 24,2005, I performed the role of Musetta in Giacomo Puccini's La BohBme, directed by Pat Diamond and conducted by Jeffrey Rink, in the Ina & Jack Kay Theatre. I examined the challenges and benefits of singing with a large orchestra of modem instruments, singing Puccini rubato and coordinating this with the conductor, and singing a role in one of the most well-known operas in today's repertoire. As a result of this investigation, I concluded that singing different styles, and singing outside one's voice classification, within reason, is beneficial. The knowledge, skill, confidence and insight I acquired by becoming more versatile benefited me as a performer and as a teacher.

Involvement of tyrosine residues located in the carboxyl tail of the human beta 2-adrenergic receptor in agonist-induced down-regulation of the receptor.

Chronic exposure of various cell types to adrenergic agonists leads to a decrease in cell surface beta 2-adrenergic receptor (beta 2AR) number. Sequestration of the receptor away from the cell surface as well as a down-regulation of the total number of cellular receptors are believed to contribute to this agonist-mediated regulation of receptor number. However, the molecular mechanisms underlying these phenomena are not well characterized. Recently, tyrosine residues located in the cytoplasmic tails of several membrane receptors, such as the low density lipoprotein and mannose-6-phosphate receptors, have been suggested as playing an important role in the agonist-induced internalization of these receptors. Accordingly, we assessed the potential role of two tyrosine residues in the carboxyl tail of the human beta 2AR in agonist-induced sequestration and down-regulation of the receptor. Tyr-350 and Tyr-354 of the human beta 2AR were replaced with alanine residues by site-directed mutagenesis and both wild-type and mutant beta 2AR were stably expressed in transformed Chinese hamster fibroblasts. The mutation dramatically decreased the ability of the beta 2AR to undergo isoproterenol-induced down-regulation. However, the substitution of Tyr-350 and Tyr-354 did not affect agonist-induced sequestration of the receptor. These results suggest that tyrosine residues in the cytoplasmic tail of human beta 2AR are crucial determinants involved in its down-regulation.

The Oud Across Arabic Culture

This study is a compilation and compendium of information on the oud, the most important instrument in Arabic classical music. It has grown out of my own long-time involvement in studying and playing the oud, and in particular out of my interest in the lack of sources and knowledge available to the vast majority of oud players and researchers, as well as for the readers. My own path started from an intensive study of the oud, which included exposure to several treaties; some housed in museums around the globe, and some only available in the Arabic language. The study combines archival research (including Arabic poetry and pre-Islamic Era and medieval treaties), symbolism, new archaeological discoveries, field interviews, and analysis of existing scholarship, and draws on my professional performance experience for detailed stylistic analysis of the oud's performance practice and its historical development. The study consists of participant observation, personal performance, and interviews conducted in person, via telephone, and/or via e-mail, according to the choice of the performers. The performers have been selected from networks of musicians who perform regularly at lounges, concert halls, and private events. These performers have been chosen according to their musical knowledge, technical skill, experience, and activity in Arabic music and oud performance. Chapter one deals with the purpose of this study and the methods of investigation, as well as giving a brief overview of the history of the oud. In addition, there will be an introduction to the Arabic musical system (mâqâm), which is primarily based on the mechanics and sound production of the oud. Chapter two deals with the oud in Arabic sources: the first source is Arabic poetry in the pre-Islamic Era. The second source is Arabic poetry in the medieval era, in which I found a significant number of poets who allude to the oud, providing accurate descriptions of the player, singers, and the scenes within the contexts of oud performance. The third source is the Arab scholars' intensive treatises with meticulous accounts of the instrument's apparatii, including descriptions and measurements of the parts, strings, and tuning. While chapter three deals with the classification, the development of the oud, chapter four deals with topics such as: the symbolism of the oud and its relation to cosmology, astronomy, mathematics and anatomy. In most of the pertinent Arabic writings, philosophers mention a significant correlation between the oud and the other sciences. Chapter five deals with recreating the performance practice of the oud. A case study of the oud performers focuses on their style, technique, training, and personal experiences. Topics such as improvisation and ornamentation, the oud in the Arabic musical ensemble, the social uses and functions, and gender in musical performance practices will be included in detailed analysis. Other important topics will be analyzed such as traditional vs. modern technique, and the repertoire of the oud. Specifically, in regard to technique, the study outline the style of the music, the role of the oud in Arabic ensembles, the function of the oud in music composition, and the form of the ensembles in Arabic performance and practice.

THE PERFORMER’S INFLUENCE ON FRANCO-BELGIAN COMPOSITIONS FROM 1870 TO 1930

The turn of the 20th century marked an ascendancy of the Franco-Belgian school of composers. French composers were inspired by the great German composers of the Romantic era, and they created their own defined national style that emerged toward the end of the 19th century. The Franco-Belgian composers’ special emphasis on tone, timbre and color encouraged a more individual, personally interpretative approach. These devices underscore the importance and influence a performer can have on the outcome of a piece. I researched the relationship between composers and violinists at a time when the Franco-Belgian style developed and flourished. The Franco-Belgian school of violin playing emerged from the Paris and Brussels conservatories as well as the symbiotic relationship between the performers and composers. Three recitals in collaboration with pianist David Ballena, which comprise this dissertation project, were performed at the University of Maryland. Each recital featured music for violin and piano from 1870 through 1930. The repertoire was chosen to reflect a performer’s influence on a composer. I examined specific composer/performer relationships that helped shape the birth of a newly defined “French” style of playing. My research focused on the stylistic interactions composers, such as César Franck, his disciple Guillaume Lekeu had with the leading prominent Belgian violinist Eugène Ysaye and between Maurice Ravel and the Hungarian violinist Jelly d’Aranyi. I also looked into the personal relationship between friends who inspired each other: Gabriel Fauré and Paul Viardot, Edouard Lalo and Pablo de Sarasate, Claude Debussy and Arthur Hartmann, and the young Lili Boulanger and Yvonne Astruc. Furthermore, I looked into the unfulfilled love between Maurice Ravel and Hélène Jourdan-Morhange, as well as the marriage of Olivier Messiaen with Claire Delbos, both relationships resulting in masterpieces for violin that have remained a part of the standard violin repertoire. My research led me to understand what type of violin playing each composer had in mind while composing, all of which led me to understand the importance a performer has in preserving national styles. The recitals were recorded on compact discs and archived within the Digital Repository at the University of Maryland (DRUM).