Economic Survey of Latin America and the Caribbean 2006-2007

Includes bibliography

Economic Survey of Latin America and the Caribbean 2007-2008: Macroeconomic policy and volatility

Includes bibliography

From hard-peg to hard landing?: recent experiences of Argentina and Ecuador

Includes bibliography

Changes in the distribution of income and the New Economic Model in Jamaica

Includes bibliography

Universal or provincial? early reception of brian friel´s philadelphia, here I come!

This article, part of a larger research work that resulted in a Professorship Thesis, presents a survey and evaluation of the early reception of one of Brian Friel’s first plays: Philadelphia, Here I Come! (1964). The article also explores the question of emigration from Ireland in the 1950s and 1960s, considering British legislation on the matter, and comments on the eventual influence such issue, among other factors, may have had on criticism about the performance of the play at the time.

Hamlet's Ophelia: The Changing Perceptions of Suicide, Death, and Madness in the Elizabethan and Victorian Periods

William Shakespeare's Hamlet, Prince of Denmark has been the source of question, debate, and research since its theatrical debut. In the midst of readings performances and one particular question has remained open and unresolved: was Ophelia's death an accident or a suicide? Some see Ophelia's death as an accident; others see it as a suicide resulting from the accumulation of a series of unfortunate events: her rejection by her boyfriend, her father’s murder, and her possible pregnancy. This paper will explore that age-old question from the perspectives of two historically different audiences: those of sixteenth-century and nineteenth-century England. I will argue that, despite the 300-year expanse between these two audiences, both emerged with the same conclusion: Ophelia's death was accidental. However, cultural and scientific changes affected the reasons why each came to that conclusion.

L'anno che non fu? L'anno dell'Europa e la crisi nelle relazioni transatlantiche, 1973/74

The 1970s are in the limelight of a growing historiographic attention, partly due to the recent opening of new archival resources. 1973, in particular, has a special interest in the historian’s eyes, as many are the events that happened that year: to name but a few, the Chilean coup, the October War, the ensuing oil crisis, the Vietnamese peace treaty. So it is may be not entirely surprising that not much attention has been paid to the Year of Europe, a nebulous American initiative destined to sum up to nothing practical - as Kissinger himself put it, it was destined to be the Year that never Was.1 It is my opinion, however, that its failure should not conceal its historical interest. Even though transatlantic relations have sometimes been seen as an uninterrupted history of crisis,2 in 1973 they reached what could then be considered as their unprecedented nadir. I believe that a thorough analysis of the events that during that year found the US increasingly at odds with the countries of Western Europe is worth carrying out not only to cast a new light on the dynamics of transatlantic relations but also to deepen our comprehension of the internal dynamics of the actors involved, mainly the Nixon administration and a unifying Europe. The Nixon administration had not carefully planned what the initiative actually should have amounted to, and its official announcement appears to have been one of Kissinger’s coups de theatre. Yet the Year of Europe responded to the vital priority of revitalising the relations with Western Europe, crucial ally, for too long neglected. But 1973 did not end with the solemn renewal of the Atlantic Declaration that Kissinger had sought. On the contrary, it saw, for the first time, the countries of the newly enlarged EC engaged in a real, if short-lived, solidarity on foreign policy, which highlighted the Nixon administration’s contradictions regarding European integration. Those, in addition to the numerous tensions that already strained transatlantic relations, gave birth to a downward spiral of incomprehensions and misperceptions, which the unexpected deflagration of the October war seriously worsened. However, even though the tensions did not disappear, the European front soon started to disintegrate, mainly under the strains imposed by the oil crisis. Significant changes in the leadership of the main European countries helped to get the tones back to normal. During the course of 1974-5, the substantial failure of the Euro-Arab dialogue, the Gymlich compromise, frequent and serene bilateral meetings bear witness that the worst was over.

Design, Synthesis and Characterization of N-Containing Organic Compounds

The needed of new intermediates/products for screening in the fields of drug discovery and material science is the driving force behind the development of new methodologies and technologies. Organic scaffolds are privileged targets for this scouting. Among them a priority place must be attributed to those including nitrogen functionalities in their scaffolds. It comes out that new methodologies, allowing the introduction of the nitrogen atom for the synthesis of an established target or for the curiosity driven researches, will always be welcome. The target of this PhD Thesis’ work is framed within this goal. Accordingly, Chapter 1 reports the preparation of new N-Heteroarylmethyl 3-carboxy-5-hydroxy piperidine scaffold, as potential and selective α-glucosidase inhibitors. The proposed reversible uncompetitive mechanism of inhibition makes them attractive as interesting candidate for drug development. Chapter 2 is more environmentally method-driven research. Eco-friendly studies on the synthesis of enantiomerically pure 1,4-dihydropyridines using “solid” ammonia (magnesium nitride) is reported via classical Hantzch method. Chapter 3 and Chapter 4 may be targeted as the core of the Thesis’s research work. Chapter 3 reports the studies addressed to the synthesis of N-containing heterocycles by using N-trialkylsilylimine/hetero-Diels–Alder (HAD) approach. New eco-friendly methodology as MAOS (Microwave Assisted Organic Synthesis) has been used as witness of our interest to a sustainable chemistry. Theoretical calculations were adopted to fully clarify the reaction mechanism. Chapter 4 is dedicated to picture the most recent studies performed on the application of N-Metallo-ketene imines (metallo= Si, Sn, Al), relatively new intermediates which are becoming very popular, in the preparation of highly functionalized N-containing derivatives, accordingly to the Thesis’ target. Derivatives obtained are designed in such a way that they could be of interest in the field of drug and new material chemistry.

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

Predicting the pathogen of diabetic toe osteomyelitis by two consecutive ulcer cultures with bone contact

In this study, we investigate the accuracy of two consecutive ulcer cultures with bone contact compared to bone biopsy for the diagnosis of diabetic toe osteomyelitis. The same nurse and orthopaedic surgeon obtained all samples: sample A-1: bone contact swabbing through the ulcer; sample A-2: a second culture swabbing from the bone surface within 24 h; sample B: surgical bone biopsy in the operating theatre. The kappa statistic measure between samples A-1 and A-2 (bone contact swabs) indicated 82.35% agreement. The sensitivity, specificity, positive and negative predictive values of the two samples A compared to B were 96%, 79%, 92% and 88%, respectively, for the causative pathogen. These results were similar with prior antibiotic treatment, discordant bone surface swabs or with monomicrobial infections. As a conclusion, two consecutive diabetic toe cultures with bone contact accurately predict the pathogen of diabetic toe osteomyelitis in 90% of cases.

Shading Silhouettes of Smaller Ones

I am truly honored to have been given the amazing opportunity to create this original piece, this powerful journey through memory and emotive exploration of the loss of childhood. How do we feel about the loss of our child-self? Could we ever get them back? How long, how deep would one have to dig in the graveyards, the playgrounds of memory, to uncover what was buried there... to un-erase what waserased? shading silhouettes of smaller ones will ultimately encourage a reconnection with the Inner Child hidden inside all of us, as well as an intimate awareness of the adult version of the self by looking back to the smaller ones. The main inspiration for this piece is then of course, Inner Child Work. Most people may not be familiar with this therapeutic exploration of childhood... It wasimportant to me then, to present this concept in an imaginative, theatrical way, as a gift to you - a comprehensive and intensely moving gift. Speaking from experience, working on my Inner Child - my little Bianca - has been the most painful, frightening, yetrewarding and powerful experience within my personal life. Some people spend their entire lives trying to love themselves, to prove themselves, or be accepted. Some are too afraid to look back to where it all began. The characters within this piece will face thatfear... in a regression from the complexities of adulthood to the confusion of adolescence, all the way back to the wonder and bliss of childhood. They will reveal memories, of both joy and pain, love and abandonment, journeying backwards through time - through memory - through a playground - back to the beginning... We will enter a world where a push of a merry-go-round spins us to games of Truth or Dare after a high school dance at 16 - or the slam of a metal fence reminds us of the door Dad slammed in our face at 9 - where the sound of chain links swings us back to scrapping our knee by the sandbox at 5 This piece will attempt to connect everyone, both cast and audience, through a universal understanding and discussion of what it means to grow up, as well as a discovery of WHY we are the way we are - how experiences or relationships from our childhood have shaped our adult lives. We will attempt to challenge your honesty and nerve by inviting you to ask questions of yourselves, your past - to remember what it's like to have the innocence and hope of a child, to engage with and discover your Inner Child, to realize when or why you left them behind, and if you want to this magical part of yourself. It is my hope that you will join us in a collective journey - gather the courage to dig up the little kid you buried so long ago...* The creation, design, choreography, and direction for shading silhouettes of smaller ones mark the culminating experience of a year-long independent study in Theatre.

The Bernese Hypothermia Algorithm: a consensus paper on in-hospital decision-making and treatment of patients in hypothermic cardiac arrest at an alpine level 1 trauma centre

INTRODUCTION: Guidelines for the treatment of patients in severe hypothermia and mainly in hypothermic cardiac arrest recommend the rewarming using the extracorporeal circulation (ECC). However,guidelines for the further in-hospital diagnostic and therapeutic approach of these patients, who often suffer from additional injuries—especially in avalanche casualties, are lacking. Lack of such algorithms may relevantly delay treatment and put patients at further risk. Together with a multidisciplinary team, the Emergency Department at the University Hospital in Bern, a level I trauma centre, created an algorithm for the in-hospital treatment of patients with hypothermic cardiac arrest. This algorithm primarily focuses on the decision-making process for the administration of ECC. THE BERNESE HYPOTHERMIA ALGORITHM: The major difference between the traditional approach, where all hypothermic patients are primarily admitted to the emergency centre, and our new algorithm is that hypothermic cardiac arrest patients without obvious signs of severe trauma are taken to the operating theatre without delay. Subsequently, the interdisciplinary team decides whether to rewarm the patient using ECC based on a standard clinical trauma assessment, serum potassium levels, core body temperature, sonographic examinations of the abdomen, pleural space, and pericardium, as well as a pelvic X-ray, if needed. During ECC, sonography is repeated and haemodynamic function as well as haemoglobin levels are regularly monitored. Standard radiological investigations according to the local multiple trauma protocol are performed only after ECC. Transfer to the intensive care unit, where mild therapeutic hypothermia is maintained for another 12 h, should not be delayed by additional X-rays for minor injuries. DISCUSSION: The presented algorithm is intended to facilitate in-hospital decision-making and shorten the door-to-reperfusion time for patients with hypothermic cardiac arrest. It was the result of intensive collaboration between different specialties and highlights the importance of high-quality teamwork for rare cases of severe accidental hypothermia. Information derived from the new International Hypothermia Registry will help to answer open questions and further optimize the algorithm.

Aporias of Trauma in Joyce's Ulysses and Faulkner's Light in August

In this thesis, I explore the relationships between trauma, memory, and narrative, particularly the ways in which trauma simultaneously disrupts and engenders narrative structures. I consider various trauma theories by authors such as Cathy Caruth, Judith Herman, Ruth Leys, and Dominick LaCapra. I also consider how psychoanalytic theory and criticism, specifically the writings of Sigmund Freud, inform the study of traumatic experience from both literary and personal perspectives. Furthermore, I consider theories regarding the relationship between trauma and narrative by authors such as Peter Brooks and John Pilkington. James Joyce¿s Ulysses and William Faulkner¿s Light in August serve, for my purposes, as trauma-texts and reflect the ways in which trauma might complicate the simultaneous destruction and creation of narrative strategies. Reading Ulysses and Light in August as trauma-texts that are both in mourning and melancholic gives us complementary, and contradictory, reasons for why we enjoy them. Mourning constructs a relationship between victim and witness, in which we can hear the voice of trauma and engage it in discourse. Conversely, melancholia creates a relationship between performer and spectator, in which we experience, and are fascinated by, the spectacle of another¿s trauma. Laughter, perversity, sorrow, and respite engage the reader in both texts, and raise questions about how one `remembers-to-forget¿ traumatic experiences. The narratives of each text¿s characters offer unique performances of mourning and melancholia. Thus, while this thesis engenders more questions than answers, I hope to argue that Ulysses and Light in August are significant literary works because each engages the reader in traumatic discourse, entertains the reader with the traumatic spectacle, and enlightens the reader on the complex relationship between trauma and narrative.

National Values and Theatrical Values. The Battle of the Siege de Calais (1765)

This article underscores the complex relationship between national concerns and dramatic criticism by interrogating the role of theatre in the creation of a 'national culture' during the last few decades of the Ancien regime. The author focuses more specifically on the forms of patriotism proposed by Pierre-Laurent De Belloy, author of Le Siege de Calais, France's "first tragedy in which the nation is given the pleasure to take an interest in itself," as well as by his adversaries and his allies. The version of patriotism proffered by De Belloy - a 'fatherland' that he defines as both bourgeois and monarchical - renders problematic several aesthetic and political norms in place in 1765. The author thus responds modestly to one of the most essential questions posed by research on eighteenth-century political and cultural history: how did patriotism operate before the French Revolution?