425 research outputs found
Antibiotic resistance has a language problem.
No full textA failure to use words clearly undermines the global response to antimicrobials' waning usefulness. Standardize terminology, urge Marc Mendelson and colleagues
New tools for antibiotic stewardship: a lesson for prescribers, researchers, or policy makers?
No full textNo abstract availabl
Optimising influenza vaccination during a SARS-CoV-2 epidemic in South Africa could help maintain the integrity of our healthcare system
No full textCITATION: Preiser, W., Mendelson, M. & Taljaard, J. 2020. Optimising influenza vaccination during a SARS-CoV-2 epidemic in South Africa could help maintain the integrity of our healthcare system. South African Medical Journal, 110(4):259, doi:10.7196/SAMJ.2020.v110i4.14692.The original publication is available at http://www.samj.org.zaENGLISH ABSTRACT: The novel infectious disease coronavirus disease
2019 (COVID-19), first reported in late December 2019 in Wuhan,
China, seems increasingly unlikely to be contained, resulting in the
first pandemic of this decade. Approximately 81% of those infected
develop a relatively mild respiratory illness only. While this is good
news, the risk of severe disease is higher for the elderly and persons
with chronic illness.http://www.samj.org.za/index.php/samj/article/view/12873Publisher's versio
"Emotion sculpted by volume" : the architecture of Erich Mendelson
No full textL’architecture constitue le principal sujet de cette recherche, et l’expressionnisme allemand en tant que mouvement, période historique et esthétique, en fournit la matière. L’architecture est étudiée, d’une part, comme l’expression des contenus émotifs, et d’autre part, en tant que le résultat de l’expérience directe du spectateur. Ces deux aspects sont appréhendés par une recherche approfondie à partir des œuvres d’Erich Mendelsohn, et précisément par son édifice emblématique : l’Einsteinturm. L’objet d’étude déborde le phénomène architectural proprement dit pour se porter sur la relation subjective à l’espace. Une méthode d’approche qui revendique son caractère « empathique », et elle s’appuie sur les écrits de Th. Vischer et de Th. Lipps. Cette notion, loin de se limiter à l’évocation d’une simple fusion de l’observateur avec son objet, annonce l’exploration de la dynamique interne qui traverse une œuvre, la mobilisation en elle de l’ensemble des sensations. Au sein de chaque réalisation singulière, c’est la totalité des modes d’expression qui se trouvent sollicités, même si un seul d’entre eux s’y manifeste de manière visible. C’est la mise en œuvre d’une œuvre d’art totale, une puissante expression qui s’incarne dans une architecture monumentale. La « composition scénique » de Mendelsohn, son parcours architectural, est le moyen de susciter chez le spectateur une expérience visuelle et corporelle, et de lui faire dépasser le stade des apparences pour atteindre le dévoilement de la réalité « intérieure ». La forme disparaît pour laisser paraître « un espace abstrait des sentiments », la Stimmung expressionniste. C’est l’abstraction en architecture.The primary subject of this study is architecture, and the material was furnished by German expressionism as a movement, a historical and æsthetic period. Architecture is studied here, on the one hand, as the expression of emotional content, and on the other hand, as the result of the spectator’s direct experience. These two aspects are treated in a study given greater depth by the works of Erich Mendelsohn and, in particular, his emblematic edifice, the "Einsteinturm". The objective of this study goes beyond the architectural phenomenon per se to take in the subjective relationship to the space. One method of approaching the topic with the focus on its “empathetic” character is based on the writings of Th. Vischer and Th. Lipps. This notion, far from limiting our consideration to the evocation of a simple fusion of the viewer with his object moving on to the exploitation of the internal dynamic that permeates a work of art, the mobilization of the full ensemble of sensations within it. At the heart of each singular realization is the totality of expressive forms, which are drawn upon even if only one of them manifests itself in visible form. It is the implementation of “Gesamtkunstwerk” (“Complete work of art”) a powerful expression embodied in a monumental form of architecture. Mendelsohn’s “scenic composition”, his architectural pathway, is the means by which he arouses a visual and corporeal experience in the spectators and makes them move beyond the stage of appearances and arrive at the development of an “interior” reality. The form disappears to allow “an abstract space of sentiments” to appear, the “expressionistic” Stimmung (mood). This is the abstraction
Takin' it to the streets: culture war, rhetorical education, and democratic virtue
No full textThe author analyzes the history of rational liberalism, connecting this paradigm with the rhetoric of the culture wars, posing postmodernism as the re-emergence of Classical sophism, and offering a rhetoric pedagogy which draws from neo-Protagorean argumentation and Paolo Freire. Chapter One examines the broad debate as it applies to English Studies, as well as the debate within English Studies, contrasting the epistemological and moral assumptions of rational elitism with those postmodern. The author argues that, as democracy is embodied in rhetorical practice rather than foundational truths, the composition classroom is a natural site for education in the virtues of phronesis . Chapter Two employs an Aristotelian vocabulary to identify the central concern as a tension between moral excellence and political effectiveness. The author argues that the liberal self-concept identifies the individual apart from and in conflict with others and the community and that liberal thinking is undercut by marketplace assumptions which discourage civic participation and provide an inadequate model of inequality, domination, and oppression. Chapter Three examines the assumptions of Euro-western rationalism which underlie liberalism and their implications for democratic practice. The author argues that the dominant paradigm of inquiry misconstrues the Good as an abstract, timeless, and unitary form; misrepresents the practices of reasoning as transcending "the oral, the particular, the local, and the timely" (Toulmin Cosmopolis 30); and mishandles social institutions by according the "misrepresented" rationality of individuals. She concludes by raising the specter of the fragmented self, a passive subject, citizen of nowhere, who conflates material acquisition and the right to personal privacy with self-determination and ethical social progress. Chapter Four illustrates the way in which contemporary constructions of the Platonic cardinal virtues are used to silence dissenting voices. The author then proposes a rhetorical way of looking at these virtues which draws its force from the teachings of Protagoras, provisionally resolving the somewhat artificial binary drawn between episteme and doxai , so providing a more democratic vision of rhetorical ethics. Chapter Five offers a view of the classroom in the aftermath of September 11, linking neo-Protagorean argumentation with Freirean pedagogy.</p
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