Academic literature on the topic 'Paul Dooley'

In his correspondence with the Corinthian community, the Apostle Paul addressed the problem of factionalism, his criticism aimed particularly against a faction of educated members who regarded their knowledge as evidence of social superiority. He countered these types of claims to superiority by proposing a dichotomy of wisdoms—“the wisdom of this world” and “God's wisdom”: Yet among the mature we do speak wisdom, though it is not a wisdom of this age or of the rulers of this age, who are doomed to perish. But we speak God's wisdom, secret and hidden, which God decreed before the ages for our glory.

In 1987, Paul Kennedy predicted in his best-selling book, The Rise and Fall of the Great Powers, that the Pacific region, especially Japan and China, would rise in power, while the then Soviet Union, the United States and Europe would decline in power. Except for Russia, his predictions have not fared well. Why? His realist model of international politics ignored the role of national identities. National identities involve domestic institutions and policies that motivate citizens to create and use wealth and power. Nations compete through domestic reforms as well as international military and economic rivalries. Domestic changes in the United States and Europe revitalized American and European power, while delays in domestic reforms doomed Soviet/Russian power and dramatically slowed Japanese and Asian growth.

With the attempt to express my feeling of admiration for Hans-Georg Gadamer an ageless melancholy mingles. This melancholy begins as of the friends' lifetime. A cogito of the farewell signs the breathing of their dialogues. One of the two will have been doomed, from the beginning, to carry alone both the dialogue that he must pursue beyond the interruption, and the memory of the first interruption. To carry the world of the other, to carry both the other and his world, the other and the world that have disappeared, in a world without world. That shall be one of the ways to let resound within ourselves the line of poetry by Paul Celan, " Die Welt ist fort, ich muss dich tragen ."

Background:Remission, LDA and LDAS have been proposed as treatment goals for SLE. However, the independent impact of these states on damage accrual has not been fully evaluated.Objectives:To determine the independent impact of remission (both off & on treatment), LDA, and LLDAS on damage accrual.Methods:We studied a long-term longitudinal multinational SLE cohort, including patients completing at least two annual assessments. Remission off-treatment was defined as a SLEDAI (excluding serology) =0, without prednisone and immunosuppressive (IS) drugs. Remission on-treatment was defined as a SLEDAI (excluding serology) =0, prednisone daily dose<=5 mg/d and maintenance IS drugs. LDA was defined as a SLEDAI (excluding serology) <=2, without prednisone or IS drugs. LLDAS was defined as a SLEDAI <=4 with no activity in major organ systems, with no new features of lupus disease activity compared to the previous assessment, prednisone daily dose<=7.5 mg/d and maintenance IS drugs. Antimalarials were allowed in all groups. Damage accrual was ascertained with the SLICC/ACR damage index (SDI). Univariable and multivariable generalized estimated equation (GEE) negative binomial regression models were used. To create mutually exclusive groups, disease activity was divided into five states: remission off-treatment, remission on-treatment (minus remission off treatment), LDA (minus remission), LLDAS (minus remission and LDA) and not-optimally controlled. The proportion of the time that patients were in the specific state at each visit since cohort entry was determined. Possible effect modifiers and confounders adjusted for included sex, age at diagnosis, race/ethnicity, education, baseline disease duration, follow-up time, the highest-ever glucocorticoid dose prior to cohort entry, antimalarials and SDI. Time-dependent covariates were determined at the same annual visit as disease activity state; the outcome was the increase in the SDI and it was assessed at the subsequent visit.Results:There were 1,652 patients, 1464 (88.6%) were female, mean age at diagnosis was 34.6 (SD 13.4) years and mean baseline disease duration was 5.5 (SD 4.1) months. Patients had a mean follow-up of 6.5 (SD 4.3) years, 11686 visits were included. 763 patients (46.2%) had an increase in SDI score ≥1 during follow-up. 2483 (21.2%) of the visits were classified as remission off-treatment, 2276 (19.5%) as remission on-treatment, 544 (4.7%) as LDA, 657 (5.6%) as LLDAS and 5726 (49.0%) as not-optimally controlled. Being in remission off-treatment, remission on-treatment, LDA and LLDAS were predictive of a lower probability of damage accrual [remission off-treatment IRR=0.403, 95% CI 0.301-0.541); remission on-treatment IRR=0.313 (95% CI 0.218-0.451) LDA: IRR=0.469 (CI 95% CI 0.272-0.809); LLDAS IRR=0.440 (95% CI 0.241-0.803)]. The multivariable model is summarized in Table 1.Table 1.Multivariable GEE model of the impact of disease activity states on damage accrual.Incidence Rate Ratio95% CIDisease activity stateRemission off treatment0.4030.301-0.541Remission on treatment0.3130.218-0.451LDA0.4690.272-0.809LLDAS0.4400.241-0.803Gender, male1.2741.086-1.495Age at diagnosis1.0241.020-1.029EthnicityCaucasian USRef.Caucasian other1.0170.849-1.217African1.4671.211-1.776Asian0.8630.693-1.075Hispanic1.2661.034-1.550Other1.1210.759-1.656Educational level, years0.9770.957-0.996Disease duration at baseline0.9600.801-1.150Follow-up time0.9420.923-0.960Antimalarial use0.7860.681-0.908Highest prednisone dose before baseline1.0021.001-1.007SDI before1.1001.050-1.1152LLDAS: Low lupus disease activity state LDA: Low disease activity SDI: SLICC/ACR Damage IndexConclusion:Remission on- and off-treatment, LDA and LLDAS were associated with less damage accrual, even adjusting for possible confounders and effect modifiers. This highlights the importance of treating to target in SLE.Disclosure of Interests:Manuel F. Ugarte-Gil Grant/research support from: Pfizer, Janssen, John Hanly: None declared, Murray B Urowitz: None declared, Caroline Gordon Speakers bureau: UCB, Consultant of: Center for Disease Control, Astra-Zeneca, MFP, Sanofi, UCB, Sang-Cheol Bae: None declared, Juanita Romero-Diaz: None declared, Jorge Sanchez-Guerrero: None declared, Sasha Bernatsky: None declared, Ann E Clarke Consultant of: AstraZeneca, BristolMyersSquibb, GlaxoSmithKline, and Exagen Diagnostics, Daniel J Wallace Grant/research support from: Exagen, David Isenberg: None declared, Anisur Rahman: None declared, Joan T Merrill: None declared, Paul Fortin: None declared, Dafna D Gladman Consultant of: Abbvie, Janssen, Pfizer, Novartis, Amgen, Grant/research support from: Abbvie, Janssen, Pfizer, Novartis, Amgen, Ian N. Bruce: None declared, Michelle A Petri: None declared, Ellen M Ginzler Grant/research support from: Aurinia pharmaceutical, M.A. Dooley: None declared, Rosalind Ramsey-Goldman: None declared, Susan Manzi: None declared, Andreas Jonsen: None declared, Ronald van Vollenhoven Speakers bureau: AbbVie, Galapagos, GSK, Janssen, Pfizer, UCB, Consultant of: Abbvie, AstraZeneca, Biogen, Biotest, Celgen, Galapagos, Gilead, Janssen, Pfizer, Sanofie, Servier, UCB, Vielabo, Grant/research support from: BMS, GSK, Lilly, UCB, Cynthia Aranow: None declared, Meggan Mackay: None declared, Guillermo Ruiz-Irastorza: None declared, S. Sam Lim: None declared, Murat Inanc: None declared, Kenneth C Kalunian Consultant of: Roche, Biogen, Janssen, AstraZeneca, Eli Lilly, Genetech, Gilead, ILTOO, Nektar, Viela, Equillium, Bristol-Meyers Squibb, Soren Jacobsen Grant/research support from: BMS, Christine Peschken: None declared, Diane L Kamen: None declared, Anca Askanase Consultant of: Abbvie, Grant/research support from: Glaxo Smith Kline, Astra Zeneca, Janssen, Eli Lilly and Company, Mallinckrodt, Pfizer, Bernardo Pons-Estel Consultant of: GSK, Janssen, Graciela S Alarcon: None declared.

In 1893, Mrs. Patrick (Stella) Campbell appeared as the title character in Arthur Wing Pinero's The Second Mrs Tanqueray at the St James's Theatre in London. The play told of a respectable widower, Aubrey Tanqueray, and his doomed second marriage to Paula, a younger woman with a past. Good wives did not have “pasts,” and Paula's is particularly scandalous for she has, since adolescence, “kept house” with a series of men. Aware that their marriage is unlikely to be accepted by their peers, Paula and Aubrey retreat to the country, where they are joined by Aubrey's adult daughter, Ellean. Ellean subsequently becomes engaged to a young soldier, Hugh Ardale. The crisis of the play occurs when Paula and Ardale come face to face and the audience learns that the pair had once lived together in London. With this revelation, Paula becomes convinced that she cannot outrun her past, and the play closes with her suicide. Despite the conventionality of its ending, the play was considered modern and daring and is remembered as one of the first attempts to represent the “fallen woman” sympathetically and to question the sexual double standard that operated in Victorian society. Campbell's clarity of expression and relatively unmannered delivery enhanced Pinero's uncommonly sympathetic portrait of a former courtesan. However, it was the actress's physical presence that particularly captured the audience's imagination. Campbell was tall, pale, and thin to the point of angularity—a representative example of the fashionable “neurasthenic” woman of the 1890s. Pinero's characterization joined with Campbell's playing style and (most important) her physicality to create the entity I dub “Paula Tanqueray circa 1893.” This entity haunted Campbell's entire career, acting as a ghostly double to her living body both onstage and off. Campbell continued to play the role of Paula Tanqueray into the 1920s, yet as the actress's body matured and changed, that of the ghost retained its svelte 1893 proportions and youthful charm, creating a corporeal dissonance that disrupted audience reception.

In 1927-1928 the Dutch architect Jan Buijs (1889-1961) built for the socialist co-operative "De Volharding" a stunning "glass house" in The Hague. The building was particularly remarkable for the revolutionary way in which Buijs interpreted his client's demand for a nighttime display of advertisements in the façades. At night De Volharding seemed transformed into a grand, luminous billboard. Although the building achieved an international reputation as a revolutionary example of the new architecture, its cubist-aesthetic appearance and its failure to conform to the tenets of the "New Objectivity" doomed it to oblivion during the 1930s. If we apply a view other than the polar, historical view of Dutch architecture, De Volharding and other buildings by Buijs appear to be, like the work of Dudok and Jan Wils, part of an independent trend that deserves to be studied in its own right. De Volharding was influenced by the art of De Stijl and by Russian constructivism, but the idea of incorporating light as Buijs did in this building originated with Paul Scheerbart and the expressionist circle around Bruno Taut, with whom Buijs was acquainted. The crystal world of his German friends fascinated Buijs; he was an ardent crystal collector who used sophisticated lighting to bring out the full beauty of his stones. In much the same way, De Volharding achieved its true significance by means of light. It became a beaconlight in the darkness, an example of an architecture of glass and light, and a symbol of the 1920s' optimistic expectations of the future society.

AbstractThe first section of this paper examines an allusion to Propertius 3.15 at 2.239 of Statius’ Thebaid. Here Statius refers to a certain Mount Aracynthus in the context of the double marriage of Argia and Deipyle to Polynices and Tydeus. Invoked in Latin poetry as we have it a scant three times, Statius’ Aracynthus recalls Propertius 3.15.42, where the mountain is the site of Amphion’s paean celebrating the victory over Dirce, whose jealous pursuit of Antiope wrought her own destruction. Invoked in the midst of the wedding of Polynices, whose own jealousy over Eteocles will bring about his downfall, Aracynthus casts a pall over the otherwise idyllic description of the two brides and further hints at the doomed nature of their union to the two exiles, Polynices and Tydeus.The second section of this paper examines an implied reference to another Aracynthus at 2.729. This second Aracynthus, however, is Aetolian and not the Boeotian mountain of Propertius. Statius’ two Aracynthi draw us in to an obscure debate, ancient and modern, concerning the location(s) of this (or these) mountain(s) and may suggest something about his engagement with his literary models.

<div><p><em>Albert Camus, a French philosopher, thinker and writer, along with Jean Paul Sartre gave a philosophical base to French existentialism. Though he would publically disavow any ideological association to this movement which gripped post-war Europe, it was his writings, nevertheless, which would shape much of the future direction that this movement would take. In his book The Rebel, An Essay on Man in RevoltCamus gave a philosophical construct to the existential conundrum which fueled and sustained this movement. In this seminal work he defines rebellion as the quintessential human response to a seemingly absurd existence. According to him it is an act of simultaneous denial and acceptance: we negate the forces which strike at the root of our existence and, in the same breath celebrate the validity of our existence in our day today living. This is what helps us retain our faith in our own humanity while pitted against the depredations of a subversive social, moral and cosmological order. Though separated by vast intercontinental distances, cultural differences andvarying tastes and sensibilities, there is a remarkable degree of convergence of thought between Camus, the French thinker and Tennessee Williams, the American playwright. Camus’ rallying call to his ‘rebel’ finds resonance in the redoubtable fight of Williams’ protagonists in play after play wherein these ‘sensitive non-conformists’ would continue to wage a relentless battle against the inequities of the world despite their foreknowledge that they are doomed to fail. At the heart of their common philosophy, is the need to assert the fact of our existence without succumbing to the forces of negation even when the quotidian reality of life would seem to preclude any hope.</em></p></div>

Paul Dooley’s composition, Masks and Machines (2015), is a significant new work for wind ensemble and was the winner of the National Band Association’s William D. Revelli Memorial Band Composition Contest award and the American Bandmasters Association’s Sousa/ABA/Ostwald Composition Contest. Masks and Machines has received positive critical acclaim and numerous performances, including a performance at the 2015 Midwest Band and Orchestra Clinic in Chicago, Illinois by the North Texas Wind Ensemble under the direction of Eugene Corporon and a performance at the 2016 American Bandmasters Association Conference in Lexington, Kentucky by the United States Marine Corps Band under the direction of Jason K. Fettig. The purposes of this dissertation are 1) to place Masks and Machines in its historical perspective within the history of wind band compositions; 2) to provide an overview of the artistic styles that influenced the composer, such as Stravinsky’s Neoclassical works, Bauhaus Art, and Fortspinnung; 3) to elaborate on the musical traits and characteristics of Masks and Machines via formal analysis; and 4) to offer a guide to rehearsal and performance of the work. The Introduction discusses Masks and Machines in its historical context as a highly acclaimed wind ensemble composition within the canon of twentieth century wind band works. Chapter 1 includes a detailed biography of Paul Dooley. Chapter 2 discusses the visual art and musical influences on Paul Dooley and how these influences come to life in his wind band compositions. Chapter 3 is an analysis of Masks and Machines with thematic excerpts and discussions on form, instrumentation, orchestration, and compositional techniques. Chapter 4 provides a rehearsal and performance guide aimed to facilitate a successful performance of Masks and Machines. Chapter 5 includes a transcription of two interviews with the composer and focuses primarily on compositional influences, processes, and techniques regarding Masks and Machines and other wind band compositions by Dooley, such as Point Blank (2012), Meditation at Lagunitas (2014), and Mavericks (2016).