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Smith, Geoff, and David L. Junchen. "Encyclopedia of the American Theatre Organ. Volume 1." Notes 43, no. 4 (June 1987): 789. http://dx.doi.org/10.2307/898161.
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Owen, Barbara, and David L. Junchen. "Encyclopedia of the American Theatre Organ. Vol. 1." American Music 5, no. 3 (1987): 321. http://dx.doi.org/10.2307/3051742.
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Shenoy, Anitha. "Care of the brain dead organ donor." Indian Journal of Respiratory Care 05, no. 02 (December 13, 2022): 705–12. http://dx.doi.org/10.5005/jp-journals-11010-05202.
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Organ donation is becoming more common but there is still a large gap between the number of people requiring transplants and the organs donated. There are set criteria for organ donation. When organ donation is considered after brain death, the physician must ensure that the prerequisites for testing are met and proceed to establish brain death using standard guidelines. The pathophysiological changes that occur after brain death must be borne in mind and utmost care should be given to counter those changes that would result in dysfunction of the donated organs. The brain dead patient must be maintained as stable as possible in the ICU. General nursing and medical care must continue. Core temperature must be maintained and infections must be treated. Blood pressure is best maintained with fluids and minimal vasopressors. Low tidal volume ventilation, optimal levels of positive end-expiratory pressures to maintain minimal FIO2, will maintain airways open and reduce extravascular lung water. Maintain euvolaemia. Maintain urine output at 0.5–3 ml/kg/h. Electrolyte abnormalities must be corrected. Maintain blood glucose concentrations between 120-180 mg %. Triple hormonal therapy improves organ function. Organ retrieval is performed in an operation theatre and a well conducted anaesthetic care is essential for the viability of these organs. One brain-dead organ donor can potentially donate ‘lives’ to eight individuals. To enhance or preserve the maximum potential of the donated organs, the anaesthesiologist and intensivist play a vital role in preserving the organs as best as possible.
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Germay, Robert. "DO NASCIMENTO DA ASSOCIAÇÃO INTERNACIONAL DE TEATRO NA UNIVERSIDADE, OU QUANDO UMA NECESSIDADE DO TU CRIA O ÓRGÃO AITU." O Teatro Transcende 21, no. 1 (December 14, 2016): 30. http://dx.doi.org/10.7867/2236-6644.2016v21n1p30-41.
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RESUMO Do nascimento da Associação Internacional de Teatro na Universidade, ou Quando uma necessidade do TU cria o órgão AITUDesde a criacão das primeiras universidades na Idade Média, a atividade teatral universitária esteve diretamente ligada às matérias ensinadas como um auxiliar do ensino, e essencialmente praticada intra muros. Após a 2a. guerra mundial (1945), o teatro universitário iria acentuar o fenômeno de sua abertura e de sua internacionalização. Rompendo os muros da universidade, o teatro conquistaria cada vez mais visibilidade, e inúmeros grupos universitários se veriam tentados pela profissionalização. A própria universidade vai, a partir daí, considerar o teatro como objeto de estudo. E os anos 70 serão, assim, marcados em quase todas as universidades europeias, pela criação de Departamentos de Estudos Teatrais. A década de 1980 viu florescerem novos festivais internacionais que revelam claramente a abundância de teatros universitários e a grande diversidade de suas práticas. Por ocasião dos Encontros de Liège (RITU), vai ressurgir no início dos anos 90, a questão da definicão do teatro universitário, que impulsiona os liegenises a organizar um Congresso Mundial em outubro de 1994, quando foi criada a Associação Internacional do Teatro na Universidade. A AITU organzia seu 11o. Congresso em 2016 em Manizales (Colombia). Palavras chave : AITU-IUTA, Teatro Universitário, História do Teatro Universitário ABSTRACT On the birth of the International University Theatre Association, or When a need of UT creates the organ IUTASince the creation of the first universities in the Middle Ages, the university theater activity was considered as a teaching aid to the subjects taught, and was primarily practiced intra muros. After the 2nd World War (1945), University Theatre would accentuate the phenomenon of openness and internationalization. Leaving the walls of the university, theater acquired more and more visibility, and numerous academic troops were tempted by professionalization. The university itself will now consider theater as a case study. And so the 70’s will be marked by the creation of Theater Studies Departments in universities all over Europe. The 1980’s saw a flowering of new international festivals which clearly reveal the abundance of university theaters and the great diversity of practices. On the occasion of the Liège Meetings (RITU), the question of the definition of university theater resurfaced in the early 90s, which pushed the organizers to set up a World Congress in October 1994. This led to the creation of the International University Theatre Association. The IUTA holds its 11th Congress in 2016 in Manizales (Colombia). Keywords: AITU-IUTA, University Theatre, History of University Theatre
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Presseisen, Filip. "Organ accompaniment in silent films, part 1 – the process of cinematic art creation." Notes Muzyczny 2, no. 14 (December 10, 2020): 59–72. http://dx.doi.org/10.5604/01.3001.0014.5748.
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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the first part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the initial phase of the development of silent cinema from 1895 to 1909. Having differentiated the terms of typical organ improvisation and the art of improvisation for silent films, the article describes the development of cinema art. From the praxinoscope invented by Émile Reynaud, through the cinematograph and the Kinetoscope (Dickson), Vitascope (Jenkins and Armat) and Bioscop (Skladanowsky brothers), it finally discusses the process how the Lumière brothers invented the cinematograph. It its further part, it presents the development of cinematography based on the improvements in theatre introduced by Méliès. The whole text serves as a basis for more parts of the article touching on the issues of the sound added to silent films and the creation of the theatre type of the pipe organ.
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Kent, Frederick James, and John W. Landon. "Behold the Mighty Wurlitzer: The History of the Theatre Pipe Organ." American Music 5, no. 2 (1987): 225. http://dx.doi.org/10.2307/3052173.
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Randall, Nathan A., and John W. Landon. "Behold the Mighty Wurlitzer: The History of the Theatre Pipe Organ." Notes 41, no. 4 (June 1985): 715. http://dx.doi.org/10.2307/940860.
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Presseisen, Filip. "Organ accompaniment to silent films, part 3 – the activity of Robert Hope-Jones and its importance." Notes Muzyczny 2, no. 16 (December 30, 2021): 87–100. http://dx.doi.org/10.5604/01.3001.0015.5491.
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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the third part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article focuses on the profile of Robert Hope-Jones, an eccentric creator of cinema organ. It describes the period preceding the time when typical theatre instruments called “Mighty Wurlitzer” acquired their final shape, i.e., from the introduction of first electromagnetic tracture innovations in England, to the establishment of Hope Jones’s collaboration with the Wurlitzer company in the United States of America and the creation of instruments of the Unit Organ type.
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Hussain, Abid. "Brain Death: The Dilemma Continues." Anaesthesia, Pain & Intensive Care 28, no. 1 (January 31, 2024): 1–4. http://dx.doi.org/10.35975/apic.v28i1.2386.
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Despite being introduced over half a century ago and having undergone multiple refinements, the debate surrounding brain death persists within the medical community. Acknowledging the premise that brain death is not synonymous with actual death[i] but rather a novel construct introduced to meet societal demands gives rise to a series of quandaries for Muslim physicians. If brain death is not acknowledged as death under Islamic law, the harvesting of organs from individuals declared brain dead would be construed as an act of homicide. Additionally, granting consent for "deceased" organ donation might be perceived as granting authorization for the cessation of one's own life in the operating theatre.
Keywords: Brain Death; Islamic Death; Islamic Bioethics; Deceased Organ Donation
Citation: Hussain A. Brain Death: The Dilemma Continues (Editorial). Anaesth. pain intensive care 2024;28(1):01−04; DOI: 10.35975/apic.v28i1.2386
Received: January 01, 2024; Accepted: January 10, 2024
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Kitchen, John. "The Organ Music of William Russell." Nineteenth-Century Music Review 12, no. 1 (June 2015): 9–25. http://dx.doi.org/10.1017/s1479409815000026.
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William Russell (1777–1813) came from a London family of organists and organ builders. He published two sets of voluntaries: in 1804 and 1812. As well as his liturgical duties at St Anne's Limehouse, and in the Foundling Hospital Chapel, Russell worked as pianist and composer at the Sadler's Wells Theatre; the influence of opera and theatrical music can be strongly felt in some of the voluntaries. He was also particularly interested in the development of the organ itself, and had ‘progressive’ ideas regarding early nineteenth-century organ design.Russell's music fascinatingly blends, or sometimes simply juxtaposes, several disparate musical influences. He therefore sits at an interesting point in English organ music. This article investigates Russell's own music – its forms, styles and genres – and his use of the instruments available to him. In addition, I will consider the extent to which his style was of the nineteenth century, and looked forward to future developments, of which his pioneering use of the pedals is one significant aspect.
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Uutela, Aki, Ilkka Helanterä, Karl Lemström, Arie Passov, Simo Syrjälä, Fredrik Åberg, Heikki Mäkisalo, Arno Nordin, Marko Lempinen, and Ville Sallinen. "Randomised sham-controlled double-blind trial evaluating remote ischaemic preconditioning in solid organ transplantation: a study protocol for the RIPTRANS trial." BMJ Open 10, no. 11 (November 2020): e038340. http://dx.doi.org/10.1136/bmjopen-2020-038340.
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IntroductionRemote ischaemic preconditioning (RIPC) using a non-invasive pneumatic tourniquet is a potential method for reducing ischaemia-reperfusion injury. RIPC has been extensively studied in animal models and cardiac surgery, but scarcely in solid organ transplantation. RIPC could be an inexpensive and simple method to improve function of transplanted organs. Accordingly, we aim to study whether RIPC performed in brain-dead organ donors improves function and longevity of transplanted organs.Methods and analysesRIPTRANS is a multicentre, sham-controlled, parallel group, randomised superiority trial comparing RIPC intervention versus sham-intervention in brain-dead organ donors scheduled to donate at least one kidney. Recipients of the organs (kidney, liver, pancreas, heart, lungs) from a randomised donor will be included provided that they give written informed consent. The RIPC intervention is performed by inflating a thigh tourniquet to 300 mm Hg 4 times for 5 min. The intervention is done two times: first right after the declaration of brain death and second immediately before transferring the donor to the operating theatre. The sham group receives the tourniquet, but it is not inflated. The primary endpoint is delayed graft function (DGF) in kidney allografts. Secondary endpoints include short-term functional outcomes of transplanted organs, rejections and graft survival in various time points up to 20 years. We aim to show that RIPC reduces the incidence of DGF from 25% to 15%. According to this, the sample size is set to 500 kidney transplant recipients.Ethics and disseminationThis study has been approved by Helsinki University Hospital Ethics Committee and Helsinki University Hospital’s Institutional Review Board. The study protocol was be presented at the European Society of Organ Transplantation congress in Copenhagen 14−15 September 2019. The study results will be submitted to an international peer-reviewed scientific journal for publication.Trial registration numberNCT03855722.
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Bowtell, Meghan K., Melissa J. Ankravs, Timothy Fazio, Jeffrey J. Presneill, Christopher MacIsaac, Michelle Spence, Linda Bennet, Mark P. Plummer, Yasmine Ali Abdelhamid, and Adam M. Deane. "A microcosting analysis of ICU expenditure in the interval between brain death and organ donation." Critical Care and Resuscitation 23, no. 2 (June 7, 2021): 211–14. http://dx.doi.org/10.51893/2021.2.oa8.
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OBJECTIVE: The cost of providing care in an intensive care unit (ICU) after brain death to facilitate organ donation is unknown. The objective of this study was to estimate expenditure for the care delivered in the ICU between the diagnosis of brain death and subsequent organ donation. DESIGN: Cohort study of direct and indirect costs using bottom-up and top-down microcosting techniques. SETTING: Single adult ICU in Australia. PARTICIPANTS: All patients who met criteria for brain death and proceeded to organ donation during a 13-month period between 1 January 2018 and 31 January 2019. MAIN OUTCOME MEASURES: A comprehensive cost estimate for care provided in the ICU from determination of brain death to transfer to theatre for organ donation. RESULTS: Forty-five patients with brain death became organ donors during the study period. The mean duration of post-death care in the ICU was 37.9 hours (standard deviation [SD], 16.5) at a mean total cost of $7520 (SD, $3136) per donor. ICU staff salaries were the greatest contributor to total costs, accounting for a median proportion of 0.72 of total expenditure (interquartile range, 0.68–0.75). CONCLUSIONS: Substantial costs are incurred in ICU for the provision of patient care in the interval between brain death and organ donation.
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Halim, Reza, and Made Agus Dwianthara Sueta. "Profile of Abdominal Trauma Patient Underwent Surgery in Emergency Operating Room of Sanglah General Hospital from January until December 2015." JBN (Jurnal Bedah Nasional) 2, no. 1 (January 18, 2018): 1. http://dx.doi.org/10.24843/jbn.2018.v02.i01.p01.
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Objective: to investigate the characteristics of patients, presentation of the abdominal organ that involved, and clinical data associated with this event. Methods: this is a descriptive study with retrospective design. Total samples were all patients with abdominal trauma who underwent surgery on the emergency operating theatre of Sanglah General Hospital between January and December 2015. Baseline data of patients were obtained from the medical records. Results: within the study period, a total of 104 patients with abdominal trauma who underwent surgery in the emergency operating room of Sanglah General Hospital were identified. Man comprised 87.5% of the patients and mostly were 17-45 years old (75%). The motor vehicle accident occurred majority on the weekend (65%). Liver and spleen were the most affected organ (55%). Splenectomy (35%) and liver repair surgery (33%) were the most often performed procedures. Conclusion: Abdominal trauma caused by motor vehicle accident occurred mostly on the weekend. Two most affected organs in abdominal trauma were liver and spleen. Splenectomy and liver repair surgery were the procedures performed for these trauma patients.
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Hunt, Nick. "Exosomatic (light) organ: Creating and using an ‘expressive instrument’ for theatre lighting control." International Journal of Performance Arts & Digital Media 9, no. 2 (August 1, 2013): 295–313. http://dx.doi.org/10.1386/padm.9.2.295_1.
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Prescott, Joel, Dale Gardiner, Lorraine Hogg, and Dan Harvey. "How the mode of organ donation affects family behaviour at the time of organ donation." Journal of the Intensive Care Society 20, no. 3 (October 17, 2018): 204–7. http://dx.doi.org/10.1177/1751143718807842.
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IntroductionEnd of life and organ donation discussions come at a time of acute emotional unrest for grieving relatives. Their attitudes and eventual decisions regarding consent to organ donation are shaped by multiple factors during these stressful periods. At our tertiary centre intensive care unit, we anecdotally observed that the mode of organ donation affects family behaviour as to whether families stay until transfer to theatre for organ recovery, or leave after consenting for donation. We sought to ascertain if this observation was true and then to hypothesise reasons for why this may be the case.MethodsRecords of patients consented for deceased organ donation between 1 January 2015 and 31 December 2017 at the Nottingham University Hospitals NHS Trust were reviewed and analysed.ResultsAfter exclusion criteria were applied, 91 patient cases were included in the final analysis (donation after brainstem death (DBD), 36; donation after circulatory death (DCD), 55). Thirty-six per cent of DBD families stayed until the point of organ recovery compared to 80% of DCD families (p < 0.00001).DiscussionWe hypothesise that this family behaviour may be indicative of an acceptance in DBD of the patient's death, and therefore that the patient has moved beyond further harm. For this reason, the family may feel able to leave after consent for donation. A greater understanding of how family behaviours differ depending on the mode of organ donation may aid how these families are best cared for in the intensive care unit.
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Presseisen, Filip. "Organ accompaniment to silent films, part 2." Notes Muzyczny 1, no. 15 (June 22, 2021): 57–66. http://dx.doi.org/10.5604/01.3001.0014.9690.
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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the second part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the process of adding sound to silent films, creating publications containing the so-called genre music (i.e., music for specific tyles of scenes), as well as cue-sheets which appeared since 1909 and which were particularly useful for improvising pianists and organists. It also describes the practice of orchestra accompaniment and different sizes of lineups connected with it.
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Flodén, Anne. "Operating Theatre Nurses’ Experiences of Participating in the Organ Donation Process in the Perioperative Setting." Transplantation 101 (August 2017): S28. http://dx.doi.org/10.1097/01.tp.0000525014.43613.3c.
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Baldiwala, Aafrin S., and Vipul C. Lad. "Management of solid organ injury in patient of blunt abdominal trauma." International Surgery Journal 8, no. 8 (July 28, 2021): 2361. http://dx.doi.org/10.18203/2349-2902.isj20213129.
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Background: In this ongoing era of 21st century, trauma is the leading cause of death in individuals between age 1 and 44. In trauma, also road traffic accidents (RTAs) are the major cause of death. Blunt abdominal trauma is a frequent emergency and is associated with significant morbidity and mortality.Methods: A prospective analysis of 50 patients of blunt abdominal trauma admitted in SMIMER hospital Surat within a span of 12 months was done. Unstable patients with initial resuscitation underwent focused assessment sonography for trauma (FAST). Failed resuscitation with free fluid in abdomen confirmed by FAST immediately shifted to operation theatre for laparotomy and proceed. Hemodynamically stable patients underwent computerized tomography of abdomen.Results: Most of the patients in our study were in the age group of 21-45 years with M:F ratio of 4:1. RTAs (62%) was the most common mechanism of injury. Spleen (38%) was the commonest organ injured and the most common surgery performed was splenectomy. In total non-operative management (NOM) was done in 58% of cases and surgical management was done in 42% of cases.Conclusions: Appropriate patient selection, early diagnosis and repeated clinical examination and use of appropriate investigations forms the key in management of blunt abdominal trauma. To conclude, initial resuscitation measures and correct diagnosis forms the most vital part of blunt abdominal trauma management.
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Hartel, Maximilian, Asad Kutup, Axel Gehl, Jozef Zustin, Lars G. Grossterlinden, Johannes M. Rueger, and Wolfgang Lehmann. "Foudroyant Course of an ExtensiveClostridium septicumGas Gangrene in a Diabetic Patient with Occult Carcinoma of the Colon." Case Reports in Orthopedics 2013 (2013): 1–5. http://dx.doi.org/10.1155/2013/216382.
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Background. Spontaneous gas gangrene is a rare disease in whichClostridium septicumfrequently can be detected. After an incubation period of 5–48 hours, a very painful swelling is accompanied by a rapidly spreading toxic-infectious clinical picture ultimately leading to septic shock and multiple organ failure. We present a case of a completely documented rare infectious disease with triage findings including initial vital signs, initial medical findings, and the emergency lab., radiological, intraoperative, histopathological, microbiological, and postmortem results. After initial diagnosis of the underlying disease, the patient has been immediately transferred to the operating theatre. The laboratory findings reflect the devastating effect of toxinαwhich is a toxin typically produced byC. septicum.The patient presented both an anaemia and a manifest coagulopathy as well as an onset of multiple organ failure. Despite the aggressive medical and surgical measures that have been taken, this patient could not be saved.Discussion. The case presented vividly emphasises the difficulty to identify these cases early enough to save a patient. This documentation may help health care providers to identify this life threatening disease as early as possible in future cases.
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Hong, Eun-Sook. "Dead Man’s Cell Phone: Supernatural Interactions and the Ethics of Hyperconnectivity." British and American Language and Literature Association of Korea 149 (June 30, 2023): 61–79. http://dx.doi.org/10.21297/ballak.2023.149.61.
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This paper focuses on the process of recovering supernatural interactions for all the characters in Dead Man’s Cell Phone. Sarah Ruhl is recognized as a playwright and thinker who expands cultural influence beyond the theatre through a conscious confrontation with the contemporary era. Dead Man's Cell Phones represents a new dimension of dramatic action that generates ‘freedom of hyperconnectivity,’ ‘hyper-connected survival,’ and ‘spiritual networks’ that humanity has neglected due to the temptation of materialism and technological advances. The play revolves around the dead man Gordon and his cell phone, exploring the human ontology that needs to be filled with meaning in the context of change and making connections among humans as well as humans and non-human others. Organ trading in Dead Man's Cell Phone is a dramatic motif that first appeared in English dramas. In this play, organ trading is a dramatic representation of the ethics of hyperconnectivity and raises ethical questions about the consequences of hyperconnectivity. This play demonstrates that drama is a platform for the transition of human life in restoring primitive connectivity in the hyper-connected era.
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Roach, Joseph R. "Slave Spectacles and Tragic Octoroons: A Cultural Genealogy of Antebellum Performance." Theatre Survey 33, no. 2 (November 1992): 167–87. http://dx.doi.org/10.1017/s0040557400002398.
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In recent critical theory, the word performance has undergone a significant expansion, some would say an inflation. As the Editor's Note to the May issue of PMLA (“Special Topic: Performance”) observes, “What once was an event has become a critical category, now applied to everything from a play to a war to a meal. The performative … is a cultural act, a critical perspective, a political intervention.” Theatre historians will perhaps greet such pronouncements with mixed emotions. On one hand, they may welcome the acknowledgment by the principal organ of the Modern Language Association that performance (as opposed to drama merely) can count for so much. On the other hand, they may wonder what exactly is intended by the conceptual leap that takes performance beyond the established theatrical genres to encompass armed conflict and comestibles.
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Meyer‐Dinkgrafe, Daniel. "Barba's concepts of the pre‐expressive and the third organ of the body of the theatre and theories of consciousness." Contemporary Theatre Review 7, no. 1 (October 1997): 35–47. http://dx.doi.org/10.1080/10486809708568443.
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Austin, Sara, and Ann Marie Wainscott. "Children's Literature as a Front in the War on Terror: Ineffective Policy, Ineffective Literature." International Research in Children's Literature 14, no. 1 (February 2021): 52–66. http://dx.doi.org/10.3366/ircl.2021.0377.
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Morocco is often praised for its proactive and innovative CVE (countering violent extremism) programme. This article analyses a three-part Arabic-language book series, Maʿ Naṣir wa Basma [With Nasir and Basma], produced by an organ of the Moroccan religious bureaucracy, the Mohammedan League of Religious Scholars, that ostensibly seeks to discourage adolescents from being susceptible to recruitment to VE (violent extremist) organisations. Starring two young Moroccan children, these books portray jihadists as old, ridiculous, or inept and the main characters as in need of protection by a paternalistic state, leaving children, especially young men, underprepared for the recruiting efforts of such organisations. The books emphasise state intervention over child action, suggesting the books are directed more at Western investors in need of reassurance than at children, supporting the critique made by some observers that CVE is more about security theatre than preventing violence.
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Brooks, Adam J., Arul Ramasamy, David Hinsley, and Mark Midwinter. "Military General Surgical Training Opportunities on Operations in Afghanistan." Annals of The Royal College of Surgeons of England 91, no. 5 (July 2009): 417–19. http://dx.doi.org/10.1308/003588409x432167.
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INTRODUCTION In the UK, general surgical specialist trainees have limited exposure to general surgical trauma. Previous work has shown that trainees are involved in only two blunt and one penetrating trauma laparotomies per annum. During their training, nearly half of trainees will not be involved in the surgical management of liver injury, 20% will not undertake a trauma splenectomy and only a quarter will see a trauma thoracotomy. Military general surgical trainees require training in, and exposure to, the surgical management of trauma and specifically military wounding patterns that is not available in the UK. The objective of this study was to determine whether operative workload in the sole British surgical unit in Helmand Province, Afghanistan (Operation HERRICK) would provide a training opportunity for military general surgical trainees. PATIENTS AND METHODS A retrospective theatre log-book review of all surgical cases performed at the Role 2 (Enhanced) treatment facility at Camp Bastion, Helmand Province on Operation HERRICK between October 2006 and October 2007, inclusive. Operative cases were analysed for general surgical trauma, laparotomy, thoracotomy, vascular trauma and specific organ injury management where available. RESULTS A total of 968 operative cases were performed during the study period. General surgical procedures included 51 laparotomies, 17 thoracotomies and 11 vascular repairs. There were a further 70 debridements of general surgical wounds. Specific organ management included five cases of liver packing for trauma, five trauma splenectomies and four nephrectomies. CONCLUSIONS A training opportunity currently exists on Operation HERRICK for military general surgical specialist trainees. If the tempo of the last 12 months is maintained, a 2-month deployment would essentially provide trainees with the equivalent trauma surgery experience to the whole of their surgical training in the UK NHS. Trainees would gain experience in military trauma as well as specific organ injury management.
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Martin, J. "A Critical Analysis of the Perioperative Management of Patients with Ehlers Danlos Type IV (Vascular) Syndrome." Journal of Perioperative Practice 27, no. 9 (September 2017): 196–99. http://dx.doi.org/10.1177/175045891702700904.
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This paper discusses the perioperative care needs of patients with Ehlers Danlos type IV (vascular) syndrome. Ehlers Danlos syndrome (EDS) is a heritable group of connective tissue disorders characterised by varying degrees of tissue, blood vessel and internal organ fragility as well as skin and joint hypermobility (De Paepe & Malfait 2012). In 1997 EDS was revised and classified into six subtypes: classical (Types I and II), hypermobility, vascular (Type IV), kyphoscoliosis and arthrochalasia type. Each classification has been based on the following aspects: diagnostic uniformity, natural history, management, genetics, and the identification of potential areas for research (Beighton et al 1998). Vascular type EDS has serious implications for any form of surgical procedure and it is therefore imperative that theatre staff are fully conversant with the needs of this patient group. Overall awareness needs to be increased, particularly as most patients will most frequently be seen in an emergency situation, as elective procedures are avoided as far as possible.
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Gupta, Ankit, Chandrakala Channappa, Mohamed Abdelkhalek Ramadan Ibrahim Elsheikh, and Manjula Annappa. "Vaginal pessary: a culprit for intraperitoneal bladder perforation." BMJ Case Reports 17, no. 4 (April 2024): e257233. http://dx.doi.org/10.1136/bcr-2023-257233.
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Vaginal pessaries are widely considered to be a safe and effective non-surgical management option for women with pelvic organ prolapse. Complications may occur, and are more frequent with improper care and certain device designs and materials. It is imperative to provide information to patients about potential complications. We present the case of a woman in her 70s who presented to the Emergency Department with increasing groin and abdominal pain following a vaginal pessary insertion 2 days prior for grade 3 vaginal vault prolapse. On presentation, her abdomen was markedly distended with guarding. Laboratory investigations showed a significant acute kidney injury with a metabolic acidosis. An initial non-contrast CT showed fluid and inflammatory changes surrounding the bladder, and bladder perforation was suspected. A subsequent CT cystogram showed extravasation of contrast from the bladder into the peritoneal cavity, in keeping with an intraperitoneal bladder rupture. The patient underwent an emergency bladder repair in theatre.
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Frank, Vojtěch. "Musical Theatre as an Object of Transnational Political Exchange." Historical Studies on Central Europe 2, no. 1 (June 16, 2022): 219–36. http://dx.doi.org/10.47074/hsce.2022-1.10.
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The paper focuses on the ways Czech-language theatres in Czechoslovakia were dealingwith the obligatory presence of Soviet operetta titles in their repertoire, dating from about 1950to 1989. The reform of Czech musical theatre began right after World War II. In search of the right,nationalized form of operetta, Czech theatre organs soon understood that the example must bedrawn from the hegemonic Soviet culture. In the Soviet discourse, mainly Isaac Dunayevsky’soperettas were considered masterpieces, and Czech theatre politicians were soon paying theirattention to them. After some initial difficulties in obtaining material for the operettas, Dunayevsky’spieces entered Czech theatre and stayed on the repertoire to the beginning of the 1960s. Afterthe Warsaw Pact Invasion in 1968, Soviet operettas re-entered the theatres’ repertoire; however,their reception and staging circumstances were much more complicated. The paper focuses on themain tendencies in staging Dunayevsky’s operettas in Czechoslovakia, the political and culturalbackground of productions, and the various ways of presenting it in Czech society and culture. Thecultural and historical microprocesses analysed may then throw light on a wider range of historicaland cultural phenomena, including cultural transfers and relations between Czechoslovakia and theSoviet Union, the discrepancies between the official and unofficial discourse, as well as the role ofpopular musical theatre in a socialist society.
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Hergert, Frank. "Eine Neubearbeitung der Original-Musik Eduard Künnekes zum Stummfilm DAS BLUMENWUNDER für Orgel / Kinoorgel." Kieler Beiträge zur Filmmusikforschung 13 (July 7, 2023): 9–40. http://dx.doi.org/10.59056/kbzf.2017.13.p9-40.
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The silent movie DAS BLUMENWUNDER (D 1926, Max Reichmann) produced 1922–1925, duration: 63 min. illustrates many different plants and blossoms as dynamic, living organisms by using time-lapse footage. An introductory background story as well as seven dance scenes complement to the plants reviving due to the time-lapse technique. The expression of the pictures is greatly intensified by the musical accompaniment composed by Eduard Künneke in 1926. DAS BLUMENWUNDER blends dramatic, scientific and educational elements typical of a Kulturfilm (culture film), but this movie is still quite unknown. Since the rediscovery of the musical accompaniment from 1926, which matches the footage exactly, this movie has been performed many times and has become available on DVD. To also provide Künneke’s film music to solo accompanists, the author has transcribed the score for (theatre) organ or, alternatively, for two pianos as close to the 1926 version as possible. Remarks regarding this new arrangement are provided. The article also reveals some inconsistency between the film scenes and music in the final part indicating that material of four minutes has been cut from the last part.
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Spārītis, Ojārs. ""Deus ex machina" or moving sculptures in the interior of Lutheran churches of Latvia." Landscape architecture and art 23, no. 23 (December 31, 2023): 65–74. http://dx.doi.org/10.22616/j.landarchart.2023.23.09.
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The term “Deus ex machina” was used in ancient Greek and Roman theatre performances as stage machinery provided the appearance of a god or hero to unravel and resolve a hopeless situation. The present article characterizes the appearance, function, and use of moving sculptures - automatons - in Latvian Baroque church interiors. Renaissance science sparked developments in mathematics, astronomy, and mechanics that stimulated not only the invention of curiosities, but also the construction of practical mechanisms and tools. Knowledge transfer from mechanics to applied and fine arts brought moments of mystery and wonder into the fields of performing arts and the spheres of representation and liturgy. The use of automatons helped to invent new mechanisms, making the mechanical movement of “animated sculptures” an attractive public entertainment. Both written evidence and artefacts preserved in museums and churches bear witness to the social demand for the integration of theatrical elements into the formerly conservative environment, for example, the church. Drawing inspiration from the culturally linked region of former Prussia, the current paper concentrates on moving figures in the interior space of Lutheran churches in Latvia to expose the variety of fascinating objects, including organ facades and baptismal fonts.
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Akter, Shamima, Mohammad Abdul Karim Miah, Taneem Mohammad, Md Siddiqur Rahman, Md Abdullah Tareq Bhuiyan, and Md Zunaid. "Demographic Profile and Outcome of Covid- 19 Obstetric Patients Undergoing Caesarean Section in a Tertiary Care Government Hospital in Dhaka, Bangladesh." Journal of Dhaka Medical College 31, no. 2 (July 9, 2024): 187–93. http://dx.doi.org/10.3329/jdmc.v31i2.73124.
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Background: Pregnancy itself is a hypercoagulable state. COVID-19 infection makes it more deleterious. As a consequence of exaggerated inflammatory response in COVID 19 infected mothers, there is alterations of coagulation system occurs, causing thrombi (micro and macro) in various organs reducing blood flow in capillaries , followed by emboli formation mainly in lung, heart, brain and kidney, resulting in multiple organ failure even death. The present study aims to observe retrospectively the clinical outcome of parturients with COVID-19 infection undergoing caesarean sections. Methods: This observational study was done in the COVID dedicated operation theatre of Department of Anaesthesia, Pain, Palliative and Intensive Care, Dhaka Medical College Hospital, Bangladesh, between May 2020 and December 2021. A total 640 obstetric patients undergoing caesarean section (both COVID positive and suspected) were observed. The demographic and outcome data of mothers ( transferred from post-operative ward to parent ward/ICU) were collected. Informations of ultimate fate (alive/death) of operated mothers were also noted. Demographic (sex) data and outcome data of newborn baby (alive/dead) were also included. The statistical analysis was carried out by using the Statistical Package for Social Sciences version 22.0 for Windows. Results: In this study, the age of the most (n=532, 83.13%) of the pregnant mothers belongs to 18-30 years of age group, remaining 16.86% patients are within the age group of 31-45 years (n=108). Although 18.75% study subjects were illiterate below class VIII(31.25), SSC(17.97%), HSC(16.40%), Graduate(12.5%), masters(3.13%)], miscellaneous type of occupational status [home-maker(70%), service holder(19.85%), entrepreneurship(1.56%) & others(8.59%. and came from different category of social class[ most of the patients belong to lower(54.68%) and lower middle class (27.81%) socioeconomic status]. Among total study sample (n=640), 55.63% (n=356) patients were infected with COVID 19 virus confirmed by RT-PCR and 44.38% (n-284) mothers were clinically COVID infected or suspected cases. The majority of the pregnant mothers (n=565. 88.28%) experienced sub-arachnoid block or spinal anaesthesia whereas only 6.09% (n=39) patients got experience of general anaesthesia. Apparently, 93.44% (n=598) of mothers come back to the parent ward after observing in post-operative ward. Of them, (n=640), 2.19% of mothers were not survived in operation theatre or post-operative ward and 4.34% (n=21)of patients had to go to Covid dedicated Intensive Care Unit. Survivors mothers (n=619, 96.72%) were greater than that of non-survivors (n=21, 3.28%). Among the delivered new born babies, the number of female babies (n=330, 51.56%) were slightly higher than that of male (n=310, 48.44%). In a total 640 babies, 560 babies (87.50%) were survived but 12.50% (n-=80 ) of babies were not survived. Conclusions: This observational study represents that among 640 number of COVID positive or suspected pregnant mothers who were undergoing caesarean section , 93.44% of mothers come back to the parent ward, 2.19% of mothers were expired in operation theatre or post operative ward because of complications. Unfortunanely, 4.34% of mothers had experience to go to Intensive Care Unit. Survivors mothers were greater than that of non-survivors. New born babies of confirmed and suspected COVID mothers were slightly female predominant. Total of them, 87.50% of babies were survived. J Dhaka Med Coll. 2022; 31(2) : 187-193
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M. L., Ramachandra, and Krishna S. R. "Solid organ injury in blunt trauma abdomen: an etiological evaluation and success rate of non-operative management." International Surgery Journal 5, no. 4 (March 23, 2018): 1350. http://dx.doi.org/10.18203/2349-2902.isj20181108.
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Background: Trauma remains the most common cause of death for all individuals between the ages of 1 and 44 years. 10% of these fatalities are attributable to abdominal injury. The Indian fatality rates for trauma are 20 times that for developed countries. The management of patients with blunt abdominal injury has evolved greatly over the last few decades from complete surgical management historically to present non operative management in most of the cases. In view of increasing number of road traffic accidents, rampant increase in construction work, accidental fall from height, this study is conducted to look into the causes of such incidents and also to strengthen the already established rules of non operative management in cases of blunt trauma abdomen.Methods: This is a prospective study of 53 patients who presented to K. R. Hospital, Mysuru, Karnataka, for management of blunt trauma abdomen over the period of January 2016 to June 2017. Unstable patients with initial resuscitation underwent Focused Assessment Sonography for Trauma. Failed resuscitation with free fluid in abdomen confirmed by FAST immediately shifted to operation theatre for laparotomy and proceed. Hemodynamically stable patients underwent computerized tomography of abdomen. Organ injuries were scaled according to the American Association for the Surgery of Trauma and these patients were managed conservatively after ruling out hollow viscus perforation.Results: Majority of the patients belonged to male sex (85%) and of the age group 21-40 years constituting 58.3% of patients. Road traffic accident was the most common mode of injury which included 35 patients (66%). A total of 19 cases had splenic injury out of which 13 (68.5%) underwent non operative management and 6 (31%) underwent emergency Splenectomy. liver injury was present in 15 patients and all were managed conservatively. In total non operative management was done in 73.5% of cases and surgical management was done in 26.5% of cases.Conclusions: The presence of free fluid with organ injury always does not mandate laparotomy. Patient selection, early diagnosis and repeated clinical examination and use of appropriate investigations forms the key in non operative management of blunt trauma abdomen. RTA being the most common mode of injury, adequate measures should be taken to prevent road traffic accidents by strict action and traffic norms and citizen education.
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Lowe, N. J. "V Plautus." New Surveys in the Classics 37 (2007): 97–114. http://dx.doi.org/10.1017/s0017383508000478.
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If Plautus had a real name, it seems never to have been known or inquired after. ‘Titus Maccius Plautus’ means something like ‘Willy McBozo Greasepaint’, and the disquieting proliferation of variants in the manuscripts is the equivalent of indecision over whether ‘McBozo’ should be spelled with a ‘Mac-’ and a small B. Plautus is a variant form of planipes (‘flatfoot’), attested as a nickname for performers in the barefoot Latin mime; Maccius means ‘son of Maccus’, the buffoonish hero of the Oscan fabula Atellana; while even the innocuous-looking praenomen Titus was used as a pet name for the male organ of business. The strong theatrical connections are nevertheless suggestive in the light of the ancient biographical tradition on Plautus, which is a shaky-looking edifice, but on one striking central point, there seems never to have been any doubt in antiquity: unlike other early Roman dramatists, Plautus came to the writing of plays not as a poet but as a professional man of the theatre. In contrast to his contemporaries Naevius and Ennius, he specialized in a single dramatic genre, and it may be his indifference to epic and tragedy in particular that kept him out of the aristocratic patronage and politics in which the careers of others were enmeshed.
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PRESTON, KATHERINE K. "American Musical Life Before 1900." Journal of the Society for American Music 8, no. 2 (May 2014): 125–29. http://dx.doi.org/10.1017/s1752196314000042.
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The Journal of the Society for American Music is the official organ of the Society; as such, the articles published in its pages deal with a wide range of topics that both reflect its mission and illustrate the incredible diversity of music and musical styles composed, performed, and heard in the Americas. A glance at the tables of contents for issues published in the last three volumes of the journal (February 2011 through February 2014) provides an illuminating snapshot of the wondrous multiplicity that characterizes American music history. The thirteen issues published during that time include articles on popular music (hip hop, ragtime, swing, jazz, rock, country, soul), musical theatre, teachers, conductors, works by composers ranging from Ives and Copland to Feldman, Harrison, and Reich (and many in between), performers (Heifetz, Robeson, Zappa), jam sessions, ethnomusicological topics; in other words, the journal reflects in a truly impressive manner the rich and varied musical culture of the Americas. What is seriously underrepresented in this panoply of musical multiplicity, however, is the rich, diverse, and similarly wondrous American musical culture of any time before the twentieth century. Of the forty-two articles published over this three-year period, only two (5 percent) deal with American music or musical life before 1900, both of them on nineteenth-century topics.
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Vishram Singh, Kumud Ranjan, Tewarson S L, Rashi Singh, and Yogesh Yadav. "Study of placental morphometric anatomy in mothers with gestational diabetes mellitus and inৎluence of gestational diabetes mellitus on the fetal weight." International Journal of Research in Pharmaceutical Sciences 11, no. 4 (December 25, 2020): 7549–58. http://dx.doi.org/10.26452/ijrps.v11i4.3961.
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The placenta is an organ which is an indicator of maternal and fetal disorders. Gestational Diabetes mellitus complicates 2-5% of all pregnancy. Therefore our work was an analysis of changes in placental morphometric anatomy in mothers of gestational diabetes mellitus and the influence of gestational diabetes mellitus on the fetal weight. Sixty-two placentas of full-term pregnancy collected from labour room/operation theatre of Gynaecology and obstetrics, department of government medical college and super facility hospital Azamgarh, Uttar Pradesh. Out of sixty-two placentas, 31 are from mothers with no known history of preexisting gestational diabetes mellitus cases as controls and 31 collected from mothers with gestational diabetes mellitus. We found mean placental weight, mean placental area, mean placental volume, mean no of cotyledons significantly more in placentas of gestational diabetic mothers. Mean fetal weight of gestational diabetic mothers were more in comparison with controls. Mean transverse diameter of placentas of the diabetic mothers were more than mean transverse diameter of placentas of the non-diabetic mothers, statistically significant. Mean longitudinal diameter also more in placentas of diabetic mothers, not statistically significant. Mean thickness at the centre more in placentas of diabetic mothers, statistically significant. Mean thickness mid-way between centre and margin and mean thickness at margin more in diabetic placentas, not statistically significant. Gestational diabetic mothers had more round-shaped placentas. Marginal insertion of umbilical cord presents more in placentas of gestational diabetic mothers.
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Vishram Singh, Kumud Ranjan, Tewarson S L, Rashi Singh, and Yogesh Yadav. "Study of placental morphometric anatomy in mothers with gestational diabetes mellitus and inৎluence of gestational diabetes mellitus on the fetal weight." International Journal of Research in Pharmaceutical Sciences 11, no. 4 (December 25, 2020): 7549–58. http://dx.doi.org/10.26452/ijrps.v11i4.3961.
Full textAbstract:
The placenta is an organ which is an indicator of maternal and fetal disorders. Gestational Diabetes mellitus complicates 2-5% of all pregnancy. Therefore our work was an analysis of changes in placental morphometric anatomy in mothers of gestational diabetes mellitus and the influence of gestational diabetes mellitus on the fetal weight. Sixty-two placentas of full-term pregnancy collected from labour room/operation theatre of Gynaecology and obstetrics, department of government medical college and super facility hospital Azamgarh, Uttar Pradesh. Out of sixty-two placentas, 31 are from mothers with no known history of preexisting gestational diabetes mellitus cases as controls and 31 collected from mothers with gestational diabetes mellitus. We found mean placental weight, mean placental area, mean placental volume, mean no of cotyledons significantly more in placentas of gestational diabetic mothers. Mean fetal weight of gestational diabetic mothers were more in comparison with controls. Mean transverse diameter of placentas of the diabetic mothers were more than mean transverse diameter of placentas of the non-diabetic mothers, statistically significant. Mean longitudinal diameter also more in placentas of diabetic mothers, not statistically significant. Mean thickness at the centre more in placentas of diabetic mothers, statistically significant. Mean thickness mid-way between centre and margin and mean thickness at margin more in diabetic placentas, not statistically significant. Gestational diabetic mothers had more round-shaped placentas. Marginal insertion of umbilical cord presents more in placentas of gestational diabetic mothers.
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Van Der Walt, J. H., R. K. Webb, G. A. Osborne, C. Morgan, and P. Mackay. "Recovery Room Incidents in the First 2000 Incident Reports." Anaesthesia and Intensive Care 21, no. 5 (October 1993): 650–52. http://dx.doi.org/10.1177/0310057x9302100527.
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Of the first 2000 incidents reported to the Australian Incident Monitoring Study 120 (6%) occurred in the recovery room after general, regional or local anaesthesia. Over two thirds (69%) of these involved the respiratory system, 19% were cardiovascular, 3 % involved the central nervous system and 9% were miscellaneous in nature. These recovery room incidents were associated with significantly more adverse outcomes (56%) than incidents in the operating theatre (24%). The types and relative frequencies of these recovery room incidents were similar to those of serious recovery complications in a recent analysis of closed malpractice claims; this suggests that incident monitoring may be useful in the study and prevention of recovery room complications. Over three quarters (77%) of all recovery incidents (and 88% of respiratory incidents) were detected clinically; the remainder were first detected by a monitor. A theoretical analysis showed that over 95% of respiratory events, had they been allowed to evolve, would have been detected by pulse oximetry before organ damage occurred, emphasising the potential importance of pulse oximetry in reducing adverse outcome from any complication in the recovery ward which might be “missed” by clinical observation. The findings of this study underline the importance of having an adequate number of trained recovery nursing staff supported by the availability of a pulse oximeter for each patient at least until the return of protective reflexes and the ability to maintain adequate arterial saturation has been established.
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Polin, Claire. "Conversations in Leningrad, 1988." Tempo, no. 168 (March 1989): 15–20. http://dx.doi.org/10.1017/s004029820002489x.
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Certainly it was the year to visit the USSR, as one rubbed shoulders with pre-Summit reporters awaiting Reagan/Gorbachev, and pilgrims celebrating the millennium of Christianity in Russia. Wandering up the Nevsky Prospekt, you saw musicians hurrying with instrument cases in hand; and whichever way you crossed the Neva or the canals, the babel of language sounded like a session at the United Nations. As Tikhon Khrennikov (still Chairman of the Composers Union 40 years after its notorious 1948 Congress) pointed out in his welcoming address at the opening concert, the Festival's purpose was ‘for building spiritual bridges between nations using music as the unique and indispensable means of communication’. Stylistic restrictions were withdrawn so that listeners would get an unusually broad idea of the ‘many-sided panorama of modern musical art’. Thus, not only ‘serious’ music but also pop, jazz, folk, and traditional musics were performed. Having attended the previous two Festivals, it was very interesting to observe the progressive attitude of the Third. Not only was there more of everything, but more variety: not only symphonic, chamber, and choral music events, but also organ recitals, modern violin music, opera, children's theatre, a song evening, and even one for light music. Not only did the best Soviet conductors and performers participate, but also the New York Philharmonic, the BBC Welsh Symphony Orchestra, jazz groups of the USSR and elsewhere, and the British avant-garde vocal group ‘Electric Phoenix’. Although the concerts were heavily weighted with Soviet works, still almost 40 countries were represented (from Cuba to Mongolia) with works by more than 150 living composers.
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Pentkowsky, Mstislav. "CHILDREN ’ S OPERA BRUNDIBÁR BY HANS KRÁSA – UNIQUE STAGE HISTORY AND CONTEMPORARY SIGNIFICANCE." Culture Crossroads 19 (October 11, 2022): 55–67. http://dx.doi.org/10.55877/cc.vol19.35.
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Brundibár, an opera written by the Czech composer Hans Krása in 1938, has gained worldwide fame since the end of World War II and has become a representa- tion of the global resistance to genocide and crimes against humanity. Brundibár was performed fifty-five times by the young Jewish inmates of the Theresienstadt concentration camp (Czechoslovakia) during 1943–1944. Depicting the victory of the helpless children over the tyrannical organ grinder Brundibár (“bumble-bee” in Czech), this opera symbolized the triumph of the good over the evil. It provided the prisoners of the camp with the hope for the liberation. In the autumn of 1944, composer Hans Krása, conductor Rafael Schächter, stage designer František Zelenka, and 150 young actors and members of the orchestra were deported in the cattle wagons to Auschwitz and other concentration camps. After the deportation of the artists, the most popular theatre production at Theresienstadt was silenced only to be revived after the end of Word War II. This paper aims to demonstrate that the role of Brundibár goes far beyond a common opera production. Brundibár has a great significance and a very special meaning when performed in the countries with the authoritarian regimes in the past, e. g. in Latvia, who faced mass deportations of the Latvians in 1941–1949 and lost the majority of its Jewish population during the Holocaust. The paper talks about the importance of the art pieces about the genocide in the 20th century that should be presented to a wide audience to keep the traumatic memory of the past alive in the memory of the today’s society.
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Kristinsdóttir, Guðrún. "Tartuffe í sögu og samtíð." Milli mála 10, no. 1 (2018): 63–87. http://dx.doi.org/10.33112/millimala.10.4.
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One of the most popular French comedies of all times, Molière’s Tartuffe from 1669, is still remarkably present and being performed in theatres today, 350 years after its premiere at the court of Louis XIV. The story of the hypocrite who fools rich Orgon into leaving him all his belongings is indeed compelling and has reflected social preoccupations ever since Molière’s day. This article retraces the historical background of the comedy and its reception in 17th century France, marked by longstanding tensions between religious groups within the Catholic Church, resulting in the play being banned. The article recounts Molière’s battle to have the ban lifted as well as recent research on the playwright’s revisions of his comedy to that end. In our day, the play’s denunciation of hypocrisy, plain lies and bad faith in general, seems to have direct repercussions, as discussed by theatre directors and actors of the various interpretations of Molière’s masterpiece in European theatres in recent years. Finally, the article retraces the productions of Tartuffe in Iceland, from the first performance of the third and the fourth Acts of the play in 1929 to the National Theatre’s presentation in the spring of 2019.
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Ayodeji, Emmanuel E., Fatungase O. Motunrayo, Nwokoro C. Chigbundu, and Shoyemi R. Oluwatoyin. "Pattern of anaesthesia techniques for herniotomy at a southwestern tertiary health institution: a 5-year review." Nigerian Journal of Paediatrics 48, no. 1 (February 4, 2021): 1–7. http://dx.doi.org/10.4314/njp.v48i1.1.
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Background: Anaesthesia for herniotomy may be challenging because the margin of error in managing such a young patient can be extremely small since the body reserves are limited and the organ systems may not be fully developed. Also, the psychological, physiological and pharmacological responses to anaesthesia are quite different from adult. Safe and effective care of children under anaesthesia is therefore crucial. This study aims to audit the pattern of anaesthetisia techniques used and their associated complications during herniotomy procedure in our health facility. Material and methods: This is a retrospective review of patients’ files, theatre records and anaesthetic-record charts of herniotomy cases performed in a tertiary health Institution from January 2011 to December 2015. Relevant clinical information were entered into proforma designed for the study. Data was analysed with descriptive statistics using the Statistical Package for Social Sciences (SPSS) version 20 Chicago IL (U.S.A). Inferential statistics of Chi-Square, Mann-Whitney and Kruskal-Wallis Test were alsoperformed. Results: One hundred and fortyfour in-patient children who belonged to American Society of Anesthesiologists Physical Health Status (ASA) grade I and II had herniotomies during the study period. The mean age is 4.21±3.72years (range, 6months – 16years) with male to female ratio of 47:1 (i.e 141 to 3). General anaesthesia (135, 94%) of various techniques was the most common technique while regional anaesthesia was only employed in nine (6%) children. The regional anaesthesia techniques were caudal block 1 (0.7%) and subarachnoid block 8 (5.5%) and were sedated to allow for cooperation in some of the cases. One hundred and twenty-four (86%) children presented as simple, elective cases while twenty (14%) children as complicated or emergency cases. Conclusion: This study showed that herniotomy can be safely performed under various options of anaesthesia techniques depending on the expertise of the anaesthetists involved. The simple, electives inguinal hernia and hydroceles could have been performed as day cases.
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Champ, Judith F. "Goths and Romans: Daniel Rock, Augustus Welby Pugin, and Nineteenth-Century English Worship." Studies in Church History 35 (1999): 289–319. http://dx.doi.org/10.1017/s0424208400014091.
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The Chant or music used by the Papal choir, and indeed in most Catholic cathedrals and abbey churches is, excepting in some instances, ancient. Gregory the Great collected it into a body and gave it the form in which it now appears, though not the author of it. The chant of the psalms is simple and affecting, composed of Lydian, Phrygian and other Greek and Roman tunes, without many notes, but with a sufficient inflection to render them soft and plaintive or bold and animating…. This ancient music which has long been known by the name of the Gregorian chant, so well adapted to the gravity of divine service, has been much disfigured in the process of time by the bad taste of the middle and the false refinements of the latter ages. The first encumbered it with an endless succession of dull unnecessary notes, dragging their slow length along, and burthening the ear with a dead weight of sound; the other infected it with the melting airs, the laboured execution, the effeminate graces of the orchestra, useless to say the least even in the theatre, but profane and almost sacrilegious in the church. Some care seems to have been taken to avoid these defects in the papal choir. The general style and spirit of the ancient and primitive music have been retained and some modern compositions of known and acknowledged merit, introduced on stated days and in certain circumstances. Of musical instruments, the organ only is additional in St Peters, or rather in the Papal chapel, and even then not always: voices only are employed in general, and as those voices are numerous, perfect in their kind, and in thorough unison with one another, and as the singers themselves are concealed from view, the effect is enchanting and brings to mind ‘the celestial voices in full harmonic number joined’ that sometimes reached the ears of our first parents in paradise, and ‘lifted their thoughts to heaven’.
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Baş, Elif. "The Rise of Kurdish Theatre in Istanbul." Theatre Survey 56, no. 3 (September 2015): 314–35. http://dx.doi.org/10.1017/s0040557415000289.
Full textAbstract:
Imagine a festival taking place before about five thousand people in a park in Adana, Turkey, in June 1992. In the middle of the park is a stage made of concrete. A touring Kurdish theatre company comprising four men, Hüseyin Kaytan, Kazım Öz, Nihat Öz, and Kemal Orgun, is performing a short play called Du Şivan (Two Shepherds). They enact a village raid and choose the villagers from among the audience. Kemal Orgun plays the commander of the task force raiding the village. The other three carry out the operation, rounding up the villagers. Orgun struts among the villagers, harassing them. All of a sudden, a woman jumps onstage and tries to grab the gun Orgun is carrying. He tries to wrest the gun from her, but she won't let go. A great commotion ensues, and more people clamber onstage to help the woman and attack the actors. When a man tries to strangle Orgun, he yells out in Kurdish, “Bira ma tu çi dikî, te ez kuştim?” (Hey my friend, what are you trying to do, kill me?). When the attacker finally understands Orgun is Kurdish, he releases and embraces him. Recounting this incident in his interview with me, Orgun remarks that they were almost lynched. The Kurdish woman who had jumped onstage and impulsively attacked Orgun had thought this was a real raid, just like those that had been taking place in Kurdish villages in Turkey for years. Her rage and instinctive self-protection is at one level slightly amusing, but this was also a bitter episode that demonstrated the consequences of the oppression of Kurdish people in the country. After the festival, Orgun and the other members named their theatre company Teatra Jiyana Nû (New Life Theatre). This became the foremost Kurdish theatre company and has trained many Kurdish actors, who in turn have further sustained and promoted Kurdish theatre by establishing their own companies.
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CULL, LAURA. "How Do You Make Yourself a Theatre without Organs? Deleuze, Artaud and the Concept of Differential Presence." Theatre Research International 34, no. 3 (October 2009): 243–55. http://dx.doi.org/10.1017/s0307883309990046.
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This article provides an exposition of four key concepts emerging in the encounter between the philosophical man of the theatre, Antonin Artaud, and the theatrical philosopher, Gilles Deleuze: the body without organs, the theatre without organs, the destratified voice and differential presence. The article proposes that Artaud's 1947 censored radio play To Have Done with the Judgment of God constitutes an instance of a theatre without organs that uses the destratified voice in a pursuit of differential presence – as a nonrepresentative encounter with difference that forces new thoughts upon us. Drawing from various works by Deleuze, including Difference and Repetition, The Logic of Sense, A Thousand Plateaus and ‘One Less Manifesto’, I conceive differential presence as an encounter with difference, or perpetual variation, as that which exceeds the representational consciousness of a subject, forcing thought through rupture rather than communicating meanings through sameness. Contra the dismissal of Artaud's project as paradoxical or impossible, the article suggests that his nonrepresentational theatre seeks to affirm a new kind of presence as difference, rather than aiming to transcend difference in order to reach the self-identical presence of Western metaphysics.
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Vasiliu, Laura Otilia. "Ancient Greek Myths in Romanian Opera. Pascal Bentoiu’s Jertfirea Ifigeniei [The Sacrifice of Iphigenia]." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 108–23. http://dx.doi.org/10.2478/ajm-2019-0006.
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Abstract Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poetic form of the ancient tragedies signed by Euripides, Aeschylus and Sophocles. Significant Romanian musical works written in the avant-garde period of 1960 to 1980 – Doru Popovici’s opera Prometeu, Aurel Stroe’s Oedipus at Colonus, Oresteia I – Agamemnon, Oresteia II – The Choephori, Oresteia III – The Eumenides, Pascal Bentoiu’s The Sacrifice of Iphigenia – to which titles of the contemporary art of the stage are added – Cornel Ţăranu’s Oreste & Oedip – propose new philosophical and artistic interpretations of the original myths. At the same time, the mentioned works represent reference points of the multiple and radical transformation of the opera genre in Romanian culture. Emphasising the epic character, a heightened chamber dimension and the alternative extrapolation of the elements in the syncretic complex, developing new modes of performance, of sonic and video transmission – are features of the new style of opera associated to the powerful and simple subject-matter of ancient tragedy. In this sense, radio opera The Sacrifice of Iphigenia (1968) is a significant step in the metamorphosis of the genre, its novel artistic value being confirmed by an important international distinction offered to composer Pascal Bentoiu – Prix Italia of the Italian Radio and Television Broadcasting Company in Rome. The poetic quality of the text quoted from the masterpiece of ancient theatre, Euripides’ Iphigenia in Aulis, the hymnic-oratory character of the music, the economy and expressive capacity of the compositional means configured in the relationship between voice, organ, percussion, electro-acoustic means – can be associated in interpreting the universal major theme: the necessity of virgin sacrifice in the process of durable construction.
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Ferry Yanto, Endang Mulyani,. "TEATER ABDUL MULUK DESA SEMBUBUK 1930- 1990." Istoria: Jurnal Ilmiah Pendidikan Sejarah Universitas Batanghari 4, no. 1 (April 30, 2020): 80. http://dx.doi.org/10.33087/istoria.v4i1.80.
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AbstractAbdul Muluk Theater is one of various types and forms of culture in Jambi, especially in Sembubuk Village. But after 1990 the arts no longer had a place in the midst of the community or suffered a setback and did not even appear again. However, on certain occasions this theater was asked to appear by officials of the cultural or tourism service in its form in performances of 17s, cultural or arts festivals. Indeed, its intensity is rarely because of losing paporite by soap operas, step on screens, single organs, or modern theater. Abdul Muluk Theater Sembubuk Village in its appearance underwent several changes, which were originally performed in the form of poems delivered by speaking or reciting until its development was made into a theater performance art performed using a play. Then in terms of place, initially performed at the hall, at home until performed at traditional ceremonies such as marriage ceremonies, circumcision, circumcision and other holidays including; at the 17s, the folk festival was held, and it was filled with TVRI programs.Key words: Change, Abdul Muluk Theater, Semubuk VillageAbstrakTeater Abdul Muluk merupakan salah satu dari berbagai jenis serta bentuk budaya di Jambi, khususnya di Desa Sembubuk. Namun setelah tahun 1990 kesenian tidak lagi mendapat tempat ditengah-tengah masyarakat atau mengalami kemunduran bahkan tidak tampak lagi pertunjukkannya. Namun dalam kesempatan tertentu teater ini diminta untuk tampil oleh pejabat dinas kebudayaan atau pariwisata bentuknya dalam pertunjukan 17an, festival budaya atau kesenian. Memang intensitasnya sudah jarang karna kalah paporit oleh acara sinetron, layar tancap, organ tunggal, atau teater moderen. Teater Abdul Muluk Desa Sembubuk dalam penampilannya mengalami beberapa perubahan-perubahan yaitu awalnya dipertunjukkan berbentuk syair-syair disampaikan dengan cara bertutur atau berpantun hingga pada perkembangannya dijadikan seni pertunjukkan teater dipentaskan menggunakan lakon. Kemudian dari segi tempat, awalnya di pentaskan di balai, dirumah hingga dipertunjukkan pada upacara adat seperti upacara perkawinan, sunatan, khitanan serta perayaan hari besar lainnya diantaranya; pada acara 17an, pegelaran festival rakyat, dan mengisi pada programacara TVRI.Kata kunci: Perubahan, Teater Abdul Muluk Desa Semubuk
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M. Priyanka, Ch. Ramadevi, and K. Anasuya. "Ayurvedic approach towards Karnagata Rogas." Journal of Ayurveda and Integrated Medical Sciences 9, no. 1 (February 24, 2024): 227–34. http://dx.doi.org/10.21760/jaims.9.1.35.
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The Uttamanga or head occupies the first place among the vital organs of the body. It is due to its substratum of vital and sense organs which includes eyes, ears, nose, oral cavity and CNS. Shalakya Tantra one among the Astangas of Ayurveda deals with the anatomically, physiology, pathology and management pertaining to Jyanendriyas. The ears are one of the Jyanendriya. An ear is the organ that enables hearing and body balancing using the vestibular system. The organ of ear is situated deep below the body surface and inaccessible for inspection with naked eye or palpate. It can be facilitated with the help of modern aids like head mirrors, otoscope, various speculums, mirrors etc and the disorders can be understood on Ayurvedic line i.e., site, underlying Doshas, Dushyas, Lakshanas and should be treated with Ayurvedic line of management. Asatmyendriyartha Samyoga of Indriya i.e Ayoga, Atiyoga and Mithya Yoga of Srotrendriya causes Roga. Factors that affecting ear health are prolong usage of ear phones (particularly when the volume is set close to the maximum), exposure to loud noise/sounds (movie theatres, concerts, firecrackers etc), impacted ear wax, insertion of sharp or unclean particles into the ear, instillation of contaminated solutions, swimming in polluted water, recurrent upper respiratory tract infections, allergies, nutritional deficiency. Noise above 70 dB over a prolonged period of time may start to damage hearing. Loud noise above 120 dB can cause immediate harm to ears. In this article an attempt is made on the understanding Nidana, Samprapti, signs and symptoms and management of Karna Rogas mentioned by various Acharyas in Ayurveda.
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Lībiete, Ieva. "RSU Anatomy Museum: a historical collection with a contemporary approach." Acta medico-historica Rigensia 14 (2021): 167–73. http://dx.doi.org/10.25143/amhr.2021.xiv.10.
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On 16 June 2021, the renovated RSU Anatomy Museum opened its doors to visitors. The museum exhibitions are based on the first anat- omy training collection in Latvia. The collection was created in the Riga Anatomical Theatre in the 1920s and 1930s and used to train future medical specialists. Nowadays, the museum is open to everyone. Everyone is invited to look into what is usually seen only by anatomists or surgeons and to discover the diversity of human bodies. Skeletons, embryos, bones, body parts and organs – their structure and variations, healthy and afflicted with disease. Everything is real here. The museum is located at 9 Kronvalda Boulevard, in the Anatomical Theatre building complex.
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Barba, Eugenio. "The Way of Refusal: the Theatre's Body-in-Life." New Theatre Quarterly 4, no. 16 (November 1988): 291–99. http://dx.doi.org/10.1017/s0266464x00002852.
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Both in his practical work with Odin Teatret, and his close involvement with ISTA, the International School of Theatre Anthropology. Eugenio Barba has developed an approach to theatre which is highly personal in expression, yet far-sightedly comparative in its concern with the nature of the actor's work and the ways in which it crosses cultural and other divides. An Advisory Editor of NTQ, Eugenio Barba contributed earlier pieces on the nature of the actor's energies to NTQ 4 and NTQ 11, and now further develops his thinking, in a consideration of what he calls ‘the body-in-life’, and the balance between its ‘three vital organs’ which is essential if the actor is to realize his full potential.
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Wilkins, Caroline. "The Panacousticon: by way of echo to Freddie Rokem." Performance Philosophy 2, no. 1 (July 29, 2016): 5. http://dx.doi.org/10.21476/pp.2016.2179.
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The impulse for this essay came about as a direct reaction to reading Freddie Rokem’s contribution in Volume 1 of this journal. Whereas Rokem refers to eavesdropping scenes in plays and philosophical discourse, I shall examine this act within the context of an acoustic mechanical theatre invented by philosopher Athanasius Kircher in the 1600s.The Panacousticon was a system of spiral-shaped funnels hidden within walls that were operated as amplifiers, connecting public spaces to the eavesdropper via ‘talking heads’ or stone busts. An audience witnessing the deeds of Polonius or Orgon in classical theatre was replaced by an auditor of unseen ‘performers’ in the act of conversing. The ‘closet’ in Hamlet was replaced by a stone bust with gaping mouth. Furthermore, Rokem’s discussion of the supernatural as an eavesdropping presence in the same play, finds an echo in Kircher’s acoustic theatre, where the talking busts began to speak as people passed by, creating an uncanny mise-en-scèneof omnipresence.Whilst Kircher performed his conceptual creations through theatrical techniques, his actor-audience was subject to the sonic address of an unknown source. With passing references to natural magic, ventriloquism and automata I shall discuss the convergences that occur between these two perspectives of performer / audience.
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Dolphijn, Rick. "‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside." Deleuze Studies 5, no. 1 (March 2011): 18–34. http://dx.doi.org/10.3366/dls.2011.0003.
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Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.