Literatura académica sobre el tema "Blees Luxemburg"

The Himalayan balsam (Impatiens glandulifera Royle) is a globally spreading neophyte, which is frequently found along rivers and streams in Luxembourg. To prevent or to fight mass stands of the species, different national management measures along various watercourses are in progress. One of these projects encompasses a 4 km long section located at the upper reaches of the river Blees and its tributaries. Here different control measures were carried out annually during the flowering period of the neophyte since 2017. To evaluate the success of this invasive species management, two surveys were conducted each year, one before (summer – June/July) and one after (autumn – September/October) the removal. Since manual methods (eradication of I. glandulifera by hand) in 2017 were not successful, the management was significantly improved from 2018 onwards using brushcutters for larger and denser populations. In the following years a combination of mechanical and manual measures was used, until mechanical control methods were no longer necessary after 2020. As the number of stands declined, the workload also decreased, to a minimum in 2020 and 2021. This minimal effort was probably insufficient, as there was an obvious increase of I. glandulifera in 2021.We recommend an adapted management of I. glandulifera with a combination of mechanical and manual measures. Which measure is finally used depends not only on the accessibility or the population density of an area, but also on the sensitivity of the occurring biotopes. To ensure a sustainable success of eradication, the measures must be carried out over a long period of time, whereby a certain amount of work must not be undercut. Furthermore, consequential damage to abiotic factors must also be restored after the complete removal of I. glandulifera.

Background and Rationale: BAY 94-9027 (damoctocog alfa pegol) is a site-specifically PEGylated B-domain deleted recombinant factor VIII (FVIII) with an extended half-life, approved for prophylaxis or treatment of bleeds in previously treated patients (PTPs) aged ≥12 with hemophilia A. The efficacy and safety of BAY 94-9027 was demonstrated in two phase II/III clinical studies in PTPs with severe hemophilia A, however, real-world data are still being gathered. The aim of the HEM-POWR study is to assess the effectiveness and long-term safety of BAY 94-9027 in the real-world clinical setting. Patients will be introduced to an online patient portal that provides study information as well as access to eDiaries and electronic patient-reported outcomes (ePROs) to patients to facilitate retention over the duration of the study. Patients will also be given the opportunity to participate in LIFE-ACTIVE, a sub-study analyzing the relationship between the patients' regular daily activity and the efficacy parameters collected during HEM-POWR. Here we present the features of the patient portal and describe the LIFE-ACTIVE sub-study design. Study Design and Methods: HEM-POWR (NCT03932201) is a multinational, multicenter, non-interventional, open-label, prospective, phase IV, cohort study. It aims to enroll ≥200 PTPs with hemophilia A receiving BAY 94-9027 (on-demand, prophylaxis, or intermittent prophylaxis [as per local label]). Key exclusion criteria are presence or history of FVIII inhibitor (≥0.6 Bethesda units), diagnosis of any bleeding or coagulation disorder other than hemophilia A, or treatment with immune tolerance induction at enrollment. The primary objective of HEM-POWR is to assess the effectiveness of prophylaxis with BAY 94-9027 in the real-world setting through the collection of total bleeding events and analysis of annualized bleeding rate. Secondary objectives include long-term safety, joint health, location and number of target joints, hemostasis during surgery and PROs. Patient enrollment, adherence and retention can be difficult in observational hemophilia studies. The patient portal for this study aims to overcome these challenges by providing study- and product-related information. It also aims to lessen the burden for patients in the study by providing e-solutions to collect their study data, including the ability to complete the study diary, and PRO measures online. The portal also includes videos explaining the study and study procedures, and is country-customized with links to relevant websites. Patients participating in LIFE-ACTIVE will be asked to wear an ActiGraph CP Insight activity-tracking smart watch continually for four 30-day periods, at their initial visit and then at months 12, 24 and 36. Measurements recorded will include physical activity intensity and duration, general mobility, and sleep quality and duration. All data will be transferred to a secure, cloud-based system and patients will not be aware of the values measured by the device. Participating countries include, but may not be limited to Austria, Belgium/Luxemburg, Canada, Colombia, Finland, Germany, Greece, Italy, Japan, Netherlands, Portugal, Saudi Arabia, Denmark, Norway, Sweden, Slovenia, Spain, Switzerland, Taiwan, and USA. The study will run from 2019 until 2025, with an observation period of ≥60 months. Disclosures Oldenburg: Octapharma: Consultancy, Research Funding, Speakers Bureau; NovoNordisk: Consultancy, Honoraria, Research Funding; Bayer: Consultancy, Research Funding, Speakers Bureau; Grifols: Consultancy, Speakers Bureau; Pfizer: Consultancy, Speakers Bureau; Roche: Consultancy, Speakers Bureau; CSL Behring: Consultancy, Research Funding, Speakers Bureau; Takeda (Shire): Consultancy, Research Funding, Speakers Bureau; Chugai: Consultancy, Speakers Bureau; Biotest: Consultancy, Research Funding, Speakers Bureau; Swedish Orphan Biovitrum: Consultancy, Speakers Bureau. Alvarez Román:CSL Behring: Speakers Bureau; Amgen: Speakers Bureau; Novartis: Speakers Bureau; Sobi: Speakers Bureau; Bayer: Speakers Bureau; Novo Nordisk: Speakers Bureau; Roche: Speakers Bureau; Shire (Takeda): Research Funding, Speakers Bureau. Castaman:Shire: Speakers Bureau; Uniqure Kedrion: Speakers Bureau; Pfizer: Research Funding; CSL Behring: Research Funding, Speakers Bureau; Bayer: Speakers Bureau; Novo Nordisk: Speakers Bureau; Roche: Consultancy, Honoraria, Speakers Bureau; Sobi: Research Funding, Speakers Bureau. Janbain:Shire (Vonvendi): Speakers Bureau; Genentech: Consultancy, Honoraria; Bayer: Consultancy, Honoraria; CSL Behring: Consultancy, Honoraria; Shire: Consultancy, Honoraria; HTRS-MRA (Bioverativ Sanofi): Research Funding. Matsushita:uniQure: Consultancy, Honoraria; CSL: Consultancy, Honoraria; Bioverative: Research Funding; Pfizer: Consultancy, Honoraria; KM biologists: Consultancy, Honoraria, Research Funding; Novo Nordisk: Consultancy, Honoraria. Meijer:Sanquin: Research Funding; Pfizer, Sanquin, Uniqure: Research Funding; Uniqure, BMS, Aspen, Boehringer Ingelheim, Sanquin, Bayer: Consultancy, Honoraria; Bayer: Research Funding. Sanabria:Bayer: Employment. Reding:Novo Nordisk: Consultancy, Honoraria, Speakers Bureau; Bayer: Consultancy, Honoraria, Research Funding, Speakers Bureau; Sanofi Genzyme: Consultancy, Honoraria, Speakers Bureau; Biomarin: Research Funding; Takeda: Consultancy, Honoraria, Speakers Bureau.

Kraulis, Julie. An Armadillo in Paris. Toronto: Tundra Books, 2014. Print.This picture book explores the beautiful city of Paris through the eyes of Arlo, the armadillo. Arlo’s grandfather wrote travel journals for him to use once he was old enough to travel and he goes on an adventure to Paris in search of the Iron Lady. The story intricately weaves passages from the journal and Arlo’s personal experiences as he explores the city. Each stop brings him closer to his final destination and provides clues on what is the Iron Lady. Some of Arlo’s experiences include buying macaroons from a French bakery, observing the pyramid in the courtyard of the Louvre, and visiting the Jardin du Luxembourg or Luxembourg Gardens. At the end of his journey, Arlo discovers that the Iron Lady is the iconic Eiffel Tower. Beautiful artwork accompanies the narrative. Overall, this book takes readers on an adventure through Paris that is suitable for children from Kindergarten to Grade 2. The book concludes with a page “All about the Iron Lady,” which includes interesting facts about the Eiffel Tower that will delight children and adults. Recommended: 3 out of 4 starsReviewer: Janice KungJanice Kung is an Academic Library Intern at the University of Alberta’s John W. Scott Health Sciences Library. She obtained her undergraduate degree in commerce and completed her MLIS in 2013. She believes that the best thing to beat the winter blues is to cuddle up on a couch and lose oneself in a good book.

À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration
Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show

À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration
Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show