29 research outputs found
Non-valvular atrial fibrillation and stroke : implications for management
No full textNonvalvular Atrial Fibrillation is more prevalent with increasing age. It is associated with a six-fold excess risk of stroke; and a cumulative lifetime stroke risk of 35%. 15% of ischaemic strokes are directly attributable to it. Five trials have established the safety of warfarin in reducing the risk by 70% in well selected patients, with stringent monitoring. Thromboembolism, cardiac failure, hypertension and echocardiographic abnormalities identify higher risk patients. The management of NVAF is changing from rate control, to cardioversion and anticoagulation (or use of antithrombotics) to reduce the embolic risk.peer-reviewe
"...A Certain Step Towards Falling in Love." Jane Austen’s Use of Dancing in Sense and Sensibility, Pride and Prejudice and Emma
No full textJane Austen is one of the most widely read and beloved writers in English literature. Her novels are still considered staple reading for young women, and her storylines have been borrowed and adapted into various modern forms, for example the films Clueless (adapted from Emma) and Bridget Jones’ Diary (loosely based on Pride and Prejudice). The reason her stories still apply to the lives of modern women is because of her use of the timeless themes of courtship and marriage and, of course, the implication that a happy ending is in store for every girl regardless of her circumstances. The courtship in the novels consists of very conventional exchanges, through which Austen’s characters communicate their marital intentions. Austen often uses balls and dances to illustrate these exchanges between her characters, thus creates the metaphor that dances are like marriages. She cleverly has one of her characters, Henry Tilney, draw attention to the possibilities of this metaphor in Northanger Abbey:
‘I consider a country-dance as an emblem of marriage. Fidelity and complaisance are the principal duties of both; and those men who do not chuse to dance or marry themselves, have no business with the partners or wives of their neighbour.’
In this essay I will closely examine three of Jane Austen’s novels (Pride and Prejudice, Sense and Sensibility, Emma) to study the part dancing played in the social interactions of the period and in particular its crucial connection to courtship activity and marriage, as most notably illustrated in various ballroom scenes
Unconscious Motives in Jane Austen's 'Emma'
No full textThe words 'unconscious' and 'unconsciously' occur twenty times in Jane Austen's six novels, with various levels of meaning. The simplest instance is the 'unconscious Marianne' of Sense and Sensibility (p. 333), unconscious because she has fallen asleep. The word is applied in a similar way to the trees of Norland Park, in "Marianne's romantic imaginings about them after her departure: 'you will continue the same; unconscious of the pleasure or the regret you occasion, and insensible of any change in those who walk under your shade!'(p. 27) When Catherine Morland is despatched so unceremoniously from Northanger Abbey, and the post-chaise passes the turning to Woodston, she thinks of Henry Tilney 'so near, yet so unconscious' (p. 230), and her grief and agitation are excessive. In these instances 'unconscious' means inert, or unaware, or lacking the capability of awareness. On other occasions it applies to a state of abstraction, or of absorption in other things
RUBIACEAE
No full textCORRECT AUTHOR CITATIONS FOR NAMES OF THREE SOUTHERN AFRICAN SPECIES OF CANTHIU
The development of Jane Austen's comic process of education
No full textThis study of Jane Austen's six novels examines the relationship of comedy and education. Austen carefully constructs two kinds of comedy in her novels: surface comedy derived from inaccurate perceptions and conceptions of the world, and deep comedy, the vital rhythm of growth which is elaborated as growing love and self-awareness. All six novels develop complex relationships between reason, emotion, imagination,
aesthetics and ethics.
In Northanger Abbey, Catherine Morland, victimized by the sterile surface comedy of artificial social conventions and her Gothic fantasy, an artificial aesthetic convention, moves toward a recognition of the deep comedy and vitality which her love for Henry Tilney inspires. Marianne Dashwood in Sense and Sensibility perceives and judges the superficialities of life and reacts in an emotional and picturesque fashion, while her sister, Elinor, in love with Edward Ferrars, cannot give surface expression to her emotions. Each sister is educated through tragicomic experiences to the demands of both views of life. Elizabeth Bennett and Darcy, victims of the prevailing social delusion of objectification in Pride and Prejudice, gradually develop a sense of the deeper values in life through expanded aesthetic sensibility and mutual affection. Fanny Price in Mansfield Park possesses deep feelings for Edmund Bertram but must learn to be independent and give her emotions sincere expression in a society deluded by false ceremony. Emma presents surface comedy as a product of Emma's attempt to superimpose her imagined life-patterns on a benevolent world. Educated by sympathy and her attachment to Mr. Knightley, Emma recognises the world below Highbury's glittering surface and the necessity for maintaining society's existing structures. In Persuasion, Anne Elliot achieves surface expression and the capacity to act as Wentworth, a victim of society's delusions of fixed social place, comes to realize the depth of Anne's emotion.
Jane Austen's novels portray a complex picture of education through the interaction of surface and deep comedy.Arts, Faculty ofEnglish, Department ofGraduat
A Study on the Performance and a Performance of Mozart's Fantasia in D minor K. 397
No full textabstract: Musical interpretation is challenging when one's goal is to evoke an emotional response from an audience. In order to develop a well-informed interpretation of Mozart's Fantasia in D minor K. 397, a study was conducted on the historical background of the piece and various performances by well-regarded performers. Fantasias are written works, but improvisatory by nature. Mozart's fantasias were influenced by C. P. E. Bach's, which included sudden changes in emotion. An Emil Gilels performance provided a classically trained approach, while Mitsuko Uchida's performance provided an emotional approach. Colin Tilney and John Irving performances elucidated the sound of the instruments that Mozart would have been composing with. Altogether, the research culminated in an interpretation of the D minor Fantasia that endeavored to capture the essence of fantasy, improvisation and emotion
Repugnance as a Constraint on Markets
No full textThis essay examines how repugnance sometimes constrains what transactions and markets we see. When my colleagues and I have helped design markets and allocation procedures, we have often found that distaste for certain kinds of transactions is a real constraint, every bit as real as the constraints imposed by technology or by the requirements of incentives and efficiency. I'll first consider a range of examples, from slavery and indentured servitude (which once were not as repugnant as they now are) to lending money for interest (which used to be widely repugnant and is now not), and from bans on eating horse meat in California to bans on dwarf tossing in France. An example of special interest will be the widespread laws against the buying and selling of organs for transplantation. The historical record suggests that while repugnance can change over time, change can be quite slow.
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Death and the Concept of Woman's Value in the Novels of Jane Austen
No full textJane Austen sprinkles deaths throughout her novels as plot devices and character indicators, but she does not tackle death directly. Yet death pervades her novels, in a subtle yet brutal way, in the lives of her female characters. Austen reveals that death was the definition and the destiny of women; it was the driving force behind the social and economic constructs that ruled the eighteenth-century woman's life, manifested in language, literature, religion, art, and even in a woman's doubts about herself.
In Northanger Abbey Catherine Morland discovers that women, like female characters in gothic texts, are written and rewritten by the men whose language dominates them. Catherine herself becomes an example of real gothic when she is silenced and her spirit murdered by Henry Tilney. Marianne Dashwood barely escapes the powerful male constructs of language and literature in Sense and Sensibility. Marianne finds that the literal, maternal, wordless language of women counts for nothing in the social world, where patriarchal,figurative language rules, and in her attempt to channel her literal language into the social language of sensibility, she is placed in a position of more deadly nothingness, cast by society as a scorned woman and expected to die. Fanny Price in Mansfield Park is sacrificed as Eve, but in her death-like existence and in her rise to success she echoes Christ, who is ultimately a maternal figure that encapsulates the knowledge of the goddess, the knowledge that from death will come life. Emma Woodhouse in Emma discovers that her perfection, sanctioned by artistic standards, is really a means by which society eases its fears about death by projecting death onto women as a beautiful ideal. In Persuasion, Anne Elliotfindsthat women endure death while men struggle against it, and this endurance requires more courage than most men possess or understand. Austen's novels expose the undercurrent of death in women's lives, yet hidden in her heroines is the maternal power of women—the power to bear children, to bear language and culture, to bear both life and death
"Opatija Northanger" Jane Austen kao parodija gotičkog romana
No full textNorthanger Abbey is the first complete novel of the famous English author Jane Austen. Originally titled Susan, the novel was written in late 1700s and published in 1818. This novel is widely regarded as a parody of the Gothic novel. Jane Austen uses clichés of the Gothic novel to make her readers laugh and show how irrational they actually are. Her heroine, Catherine Morland, is an ordinary young girl that has very little in common with a typical heroine of the Gothic novel. She is so ordinary that the narrator has to keep reminding the reader that she is the heroine of the novel. Catherine likes to read Gothic novels and starts projecting her Gothic fantasies on people and places around her. Northanger Abbey is divided into two parts that take place in two different settings. The first part takes place in a village where Catherine was born and in Bath, a spa town in England where she is invited by the friends of her family, the Allens. That first part of the novel has hardly any characteristic of the Gothic novel and functions as a novel of manners. The second part of the novel takes part in Northanger Abbey, a family home of Henry Tilney, the man Catherine loves. In the abbey Catherines imagination takes flight and she sees Gothic mysteries everywhere around her and hilarity ensues. Things that are horrifying in a Gothic novel here have a rational explanation and are used to make readers laugh
