5 research outputs found
Investigating grammatical complexity in Gulf Arabic speaking children with specific language impairment (SLI)
No full textThis is the first investigation of Specific Language Impairment (SLI) in Gulf-Arabic (GA) speaking children. The thesis consists of two main sections, in the first one, I discuss the definitions of SLI and the various theories put forward to account for the deficits seen in this population. I also discuss the importance of cross-linguistic investigations of SLI and why studying SLI in GA may prove useful in testing the accounts of SLI that argue for a general processing deficit vs. those that argue for a domain specific account of SLI. The remaining section of the first part is dedicated to describing the various language tests developed to identify children with SLI in GA. These tests were conducted with approximately 88 typically developing children and 26 children with SLI between the age of 4;6 and 9;4 years old. In the second part of the thesis, I report on two experiments investigating syntactic and phonological complexity in GA speaking children with SLI. The first experiment investigates the comprehension of three types of word orders: a canonical SVO, and two word orders that involve fronting of the direct object (OSV and OVS). Results showed that children with SLI differed from the TD groups on the sentences with fronted NP's, but not on the canonical word order. The second experiment involves a nonword repetition test where syllable length and consonant clusters are systematically controlled to contrast the influence of both phonological short-term memory and phonological complexity. The results are consistent with accounts that argue for a significant role of phonological complexity in NWR and question the “centrality” of phonological capacity in nonword repetition. The final chapter summarises the findings of the thesis and its contribution to theories of SLI in general, and to the study of SLI in Arabic in particular
Accessible theatre: the application of human ethology and innate neurobiological systems to full-masked devised theatre practice
No full textThis thesis is concerned with the challenges of devising a full-masked theatre performance that is largely accessible to audiences of every age, social background and culture. The study is original and contributes to knowledge in two distinct ways; it is to this researcher’s knowledge the only such research that examines the relationship between the devising processes of a full-masked performance, neurobiology, human ethology and the accessibility of audience reception (Bennett, 1994). Secondly, this is the first study to investigate how universal innate neurological processes can be used in the making and reception of stage performance to help ensure wide accessibility of information and meaning. The thesis addresses the concept of accessibility by taking a phenomenological approach to devising and audience reception, with particular focus on the role of neurobiological systems and structures, in particular the mirror neuron system, the pleasure-reward system, and pattern recognition systems, in the communication and reception of performance meaning (McConachie, 2008). The research is framed by the concept of a universal theatrical language proposed by practitioners Peter Brook and Tadeshi Suzuki, which has the potential to connect people ‘at the deepest levels of their humanity’ (Pavis, 1996: 6). Practical approaches adopted in the research are informed and supported by anthropological and human ethological claims of universality (Ekman, 1975; Brown, 1991; Eibl-Eibesfeldt; 2007 [1989]; Schmitt et al. 1997). This thesis theorizes that human beings possess innate neurobiological systems that interact with culturally specific concepts, conditions and knowledge in such a way that when deployed appropriately, these innate neurobiological systems can be a platform for human cognition and for the designing of performances accessible to an audience of different ages, social backgrounds and cultures. It also proposes that innate neurobiological systems create a universal framework that makes it possible for the said broad-based audience to read and receive a performance using similar codes of cognition and aesthetic reference irrespective of age, social and cultural backgrounds. The research process led to the creation of an original full-masked theatrical performance and eighteen performances of this piece were given to different audiences in a range of venues and locations in Northamptonshire. Qualitative and quantitative data analysis of how the various audiences received the performance suggest that the devising methods employed did contribute to making the performance accessible to an audience with a ‘broader constituency than theaters normally envision’ (Pitts-Walker, 1994: 9-10). This research enables practitioners for whom a wide audience and accessibility are an explicit focus to adopt devising approaches that will help to achieve the desired wide-ranging reception and accessibility in mixed audiences irrespective of race, age, gender and culture
'Riot', 'Revolution' and 'Rape': The theatre relationship and performance breakdown
No full textThis thesis considers theories about the relationship between theatre makers and audience members in theatre – how this relationship is established and how it can break down. The thesis posits that the breakdown of a theatre relationship is manifested in audience behaviour which, when it is severe enough, can lead to interventions in performance and, potentially, the breakdown of that performance. The thesis argues that audience intervention in a performance constitutes a seizure of ‘performance power’ from the theatre makers, which is sufficiently difficult to achieve that successful and sustained interventions can only be carried out by groups of audience members and, probably, organized in advance. Further, the thesis suggests that in its most extreme form, such interventions may bring about a transfer of roles and power between audience members and theatre makers such that a new quasi-theatrical ‘performance of protest’ is created.
The thesis surveys three historical cases in which theatre performances were disrupted by deliberate audience interventions. In each case the nature of the intervention was slightly different and the effect upon the performance was also different. In the first example, the Plough and the Stars riots (Dublin, 1926) a preplanned protest occurred in the playhouse and, despite interruption, the performance continued. In the second instance, the audience at Living Theatre’s Paradise Now (California 1969) erupted in spontaneous protest within the theatre and the performance was almost entirely subsumed. In the final study, the Mervyn Thompson case (Auckland 1984) the protest took two forms: first there was a vigilante-style attack on Thompson himself which took place well away from any theatre event but had strong theatrical references; then several of his performances were affected by organized lobbying, pickets and interruptions. The thesis asks why the rupture in the theatre relationship occurred in each case and considers what these instances have to tell us about the breakdown of theatre performance as a social phenomenon.
The thesis finds that in all three cases the audience members carrying out the interventions belonged to pre-existing groups with prior experience in protest action. The thesis also finds that the protesters had all had direct experience of some other ‘dramatic’ or ‘theatrical’ event in their own lives; experiences that made the performance seem less relevant. Given this, the thesis argues that, in these cases, the propensity to disrupt was brought to the theatre relationship by the audience members rather than being a direct response to the performance, even where that performance was confrontational.
These findings have implications for theatre study and practice: in particular, the thesis raises questions about how we look at performance breakdown. Rather than assuming audience protest is a simple response to the performance, the findings suggest that such events must be considered in the light of the wider social and political context of the performance, most particularly the audience members’ pre-occupations. Finally, the thesis asks whether audience protest, however theatrical it appears, can ever become substitute theatre in the true sense of that word
Physiological parameters for Prognosis in Abdominal Sepsis ({PIPAS}) Study: a {WSES} observational study
No full textBackground: Timing and adequacy of peritoneal source control are
the most important pillars in the management of patients with
acute peritonitis. Therefore, early prognostic evaluation of
acute peritonitis is paramount to assess the severity and
establish a prompt and appropriate treatment. The objectives of
this study were to identify clinical and laboratory predictors
for in-hospital mortality in patients with acute peritonitis and
to develop a warning score system, based on easily recognizable
and assessable variables, globally accepted. Methods: This
worldwide multicentre observational study included 153 surgical
departments across 56 countries over a 4-month study period
between February 1, 2018, and May 31, 2018. Results: A total of
3137 patients were included, with 1815 (57.9\%) men and 1322
(42.1\%) women, with a median age of 47 years (interquartile
range [IQR] 28-66). The overall in-hospital mortality rate was
8.9\%, with a median length of stay of 6 days (IQR 4-10). Using
multivariable logistic regression, independent variables
associated with in-hospital mortality were identified: age > 80
years, malignancy, severe cardiovascular disease, severe chronic
kidney disease, respiratory rate 22 breaths/min, systolic
blood pressure 4 mmol/l. These variables were used to create the
PIPAS Severity Score, a bedside early warning score for patients
with acute peritonitis. The overall mortality was 2.9\% for
patients who had scores of 0-1, 22.7\% for those who had scores
of 2-3, 46.8\% for those who had scores of 4-5, and 86.7\% for
those who have scores of 7-8. Conclusions: The simple PIPAS
Severity Score can be used on a global level and can help
clinicians to identify patients at high risk for treatment
failure and mortality
