4 research outputs found
Phonons and Elasticity in Disordered binary Crystals
No full textThe lack of a unique, classical microscopic reference state impedes the study of elasticity in non-ideal crystals at finite temperature. Not only do thermal lattice vibrations contribute to that lack for their part but they also promote the creation of point defects. Moreover, phason flips cause an ambiguity of the reference configuration intrinsic to quasicrystals. These processes crucially go along with an unclear microscopic definition of the displacement field.This thesis generalizes previous approaches to isothermal crystal elasticity, focusing on the periodic case discussed in Part II. The two equivalent approaches considered can be distinguished by their nature as static/thermodynamic respectively hydrodynamic. Primarily, the linear, dissipationless and isothermal Zwanzig–Mori equations of motion from [WF10] are generalized to binary periodic crystals. This includes the derivation of a dynamical block matrix whose diagonalization yields both acoustic and optical phonon dispersion relations. The elastic constants follow from the acoustic branches by the method of long waves. The central input parameter to the theory is the direct correlation function which can be obtained from classical Density Functional Theory (DFT). As a proof of principle, dispersion relations are computed for several binary hard sphere model systems, based on a simple DFT approach to freezing. Dispersion relations are further computed from the equilibrium statistics of a binary hard sphere crystal Molecular Dynamics simulation. To that end, the definition of the linear response displacement field from [WF10] is generalized in a species-wise manner.A discussion of the properties of the dynamical matrix in the long-wavelength limit is performed with the result of potential couplings of the total momentum density to non-hydrodynamic variables. While these couplings can be ruled out in systems with inversion symmetry, there are strong indications for a lowering of the elastic constants in the opposite case. This seems in conflict with phenomenological hydrodynamics of crystals and raises fundamental questions about the correct application of the Zwanzig–Mori formalism. More specifically, the presence of reversible contributions in the memory matrix comes into question. In reaction to that, two working-hypotheses are formulated that allow to apply the formalism in the conventional way, yet appear incompatible in the light of the findings.Therefore, a “second witness is called to court” in the form of the thermodynamic DFT approach to crystal elasticity. It is formulated for binary periodic crystals of arbitrary symmetry. By dropping the requirement of inversion symmetry and by the inclusion of point defect fluctuations, this thesis adds to the scope of previous binary approaches. Additionally, the equilibrium condition at given external strain and defect fluctuations is discussed on the level of arbitrary internal strain. This is expected to provide a straightforward access to the treatment of more complicated internal strains. The subsequent example includes only a single sublattice displacement as “optical” internal strain parameter. Its coupling to external strain is derived and related to results known from the classical low-temperature potential expansion. Whether this potential expansion approach has been correctly recovered by [Wal09] in the case of lattices without inversion symmetry is studied on the example of the honeycomb lattice.In a separate part, approaches to the description of acoustic phonons in quasicrystals within the same Zwanzig–Mori formalism are explored. The characteristic “dense” structure of the reciprocal lattice for such systems poses challenges to which no conclusive answer could be given. The author hopes that the approaches made may serve as a starting point for future research. Nonetheless, encouraged by earlier works in that direction, the thermodynamic approach to elasticity is modified from periodic crystals and applied to a specific two-dimensional quasicrystal example.publishe
Body mass index and weight changes in patients with HER2-positive early breast cancer: A sub-analysis of the APHINITY trial
No full textBackground: Body mass index (BMI) may affect prognosis in patients with breast cancer (BC). We assessed the association of BMI and weight changes with outcomes of patients with HER2-positive early BC included in the APHINITY trial. Methods: This is an exploratory analysis of APHINITY (NCT01358877), randomized trial testing adjuvant dual vs. single HER2 blockade plus chemotherapy in HER2-positive early BC. BMI was collected at baseline and at two years after randomization. Patients were classified as underweight/normal weight (BMI<25 kg/m2) and overweight/obese (BMI≥25 kg/m2). The association of BMI with invasive disease-free survival (iDFS), distant recurrence-free interval (DRFI) and overall survival (OS) was investigated. Landmark approach was used to compare event for weight change ≥ 5.0 % at 2 years from baseline. Results: Of 4787 patients included, 2252 (47 %) were overweight/obese and 2535 (53 %) underweight/normal weight. Patients who were overweight/obese had more often chemotherapy discontinuation compared to underweight/normal weight patients (14 % vs. 9 %, p < 0.001). Patients who were overweight/obese exhibited worse iDFS (adjusted hazard ratio [aHR] 1.27; 95 % CI 1.06–1.52), DFRI (aHR 1.32; 95 % CI 1.06–1.64) and OS (aHR 1.38; 95 %CI 1.08–1.77) than underweight/normal weight patients. This effect on iDFS remained after adjusting for chemotherapy discontinuation (iDFS aHR 1.26, 95 % CI 1.05–1.51; DRFI aHR 1.31, 95 % CI 1.06–1.63; OS aHR 1.35 95 % CI 1.05–1.73). Weight changes at 2 years were not associated with clinical outcomes. Conclusions: Our exploratory findings suggest that overweight/obesity at diagnosis was associated with worse survival outcomes
Efficacy of Phonosurgery, Logopedic Voice Treatment, and Vocal Pedagogy in Common Voice Problems of Singers
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Poetics of the grotesque in Zlatko Bourek's figure theatre
No full textU uvodnom dijelu radnje predstavljen je kratak povijesni pregled uloge lutke u okviru
predstavljačke umjetnosti te stanje lutkarskog oblikovanja u Hrvatskoj tijekom dvadesetog
stoljeća. Definirana je razlika između dekorativnog i dramaturški funkcionalnog pristupa
vizualnom oblikovanju lutaka. Repertoar lutkarskih kazališta namijenjen je pretežito djeci.
Tim, pretežito zabavnim lutkarskim formama, suprotstavljena je duboko simbolična poetika
teatra figura Zlatka Boureka namijenjenog odrasloj publici.
Postavlja se hipoteza: najvažnija odlika pri umjetničkom likovnom oblikovanju lutke jest
njena kazališnost i primjerenost; dramaturški funkcionalna lutka bitan je i aktivan sudionik u
formiranju ukupnog značenja kazališne izvedbe.
Drugo poglavlje daje kratak okvirni biografski prikaz života i sveukupnog umjetničkog opusa
Zlatka Boureka.
Treće, glavno poglavlje, posvećeno je analizi Bourekovih lutkarskih ostvarenja namijenjenih
odrasloj publici na primjeru sljedećih predstava: Orlando Maleroso Saliha Isaaca,
Stoppardovog Hamleta, Držićevog Skupa i Dunda Maroja, Štokove Božanstvene komedije,
Aristofanove Lizistrate, farse Rigoletto, Meštra Pierra Pathelina nepoznatog autora,
Molièreovog Umišljenog bolesnika te predstave Ubu — kralj robijaš na osnovi teksta Alfreda
Jarrya. Analiza obuhvaća upotrebu osnovnih likovnih sredstava, simbola i arhetipova pri
oblikovanju lutke, opis autorovog kreativnog procesa pri donošenju oblikovnih odluka
(intervjui s autorom) te objašnjava dramaturšku funkciju likovnosti lutke u službi ostvarivanja
primjerene recepcije umjetničkog djela.
Četvrto poglavlje predstavlja i analizira Bourekov tretman glumca kao lutke na primjeru
predstava Sveti Juraj, Bećarac i Skup, pri čemu se komunikacijska funkcija likovnih
elemenata u okviru izvedbe postiže upravo izlaženjem iz okvira realnog i potvrđivanjem
nadnormalnog kao jedine kazališne norme.
Zaključno poglavlje čini sintezu argumenata predloženih u kritičkoj analizi i istraživanjima
predstavljenim u prethodnim poglavljima, čime se potvrđuje hipoteza određivanja odlika koje
čine dramaturški funkcionalnu lutku.The aim of this study is defining those qualities of visual poetics of a puppet that make it a
successful communication tool within a performance as well as providing better
understanding of underlying creative process and artist's transformation of a text into
meaningful and active dramatic images.
The thesis questions the importance of historical accuracy of a theatrical design for its
communicating functionality. The accent is put on theatricality and appropriateness of a
design, creative processes in making connections between text and design, the role of symbols
and archetypes for emotional reception achieved through puppet design that is achieved by
use of basic elements of visual language (line, form, color, texture, lighting). The puppet —
actor relationship is analyzed. Surreal is defined as the only artistic norm within the art of
theatre.
The hypothesis is presented: the most important feature of artistic visual design of puppet is
its theatricality and its appropriateness; dramaturgically functional puppet is an important and
active participant in forming of a complete meaning of a theatrical performance.
The analysis of visual poetics is relatively scarce in the study of theatre. Scientific
contribution of this work is aimed at broadening of the field of analysis of the art of theatre
and bringing the art of puppetry in the focus of academic research by demarginalization of
puppet design and puppetry and their recognition as important and potent visual
communication tools within broader practice of theatre. The desired contribution to practice
of theatre design, as well as to directors and performers, is better understanding of poetics and
dramaturgical potential of visual languages of the stage, encouragement for use of research
methods, critical analysis and synthesis for realization of functional theatre designs.
A short historical summary of the position of puppet within performing arts, its cultural,
social and political importance on a global scale is given.
The state of puppet design in Croatia during twentieth century, characterized by
predominance of instructional and educational plays aimed chiefly at children is reviewed.
Representative artists that have influenced and have greatly contributed to the development of
puppetry in Croatia by their engagement in broadening expressive potentials and
technological solutions of puppets are addressed: Ljubo Babić, Željan Markovina, Berislav
Deželić, Branko Stojaković, Željko Zorica and Mojmir Mihatov.
The use of a puppet within theatrical productions aimed at adult audiences, chiefly as a part of
physical theatre, intimate and personal works of art, visual or devised theatre and as a strong tool of social critique and change is explained on the examples of work realized by following
troups or individuals: Bread and Puppet Theater, The People Show, Tadeus Kantor, Phillipe
Genty, The Wrong Crowd, Night Light Theatre Company and Ilka Scönbein.
Distinction between decorative and dramaturgically functional approach to visual design of
puppet is marked out.
The majority of puppet theatres repertoire is aimed chiefly at children. To those, essentially
entertaining forms of puppet theatre, opposed is the deeply symbolic expressiveness of Zlatko
Bourek's figure theatre aimed at adult audience marked by his distinctive personal poetics of
grotesque.
The second chapter presents a short biographical outline of life and complete artistic opus by
Zlatko Bourek who, during his productive career as an extremely versatile artist (graduating at
the Academy of applied arts in Zagreb, specializing in sculpture), has pushed the boundaries
of visual expression with virtuosity and unique personal style in many art forms — ranging
from sculpture, painting, animated and short feature films, costume and set design for theatre
productions, direction of plays and above all puppetry for adult audience — that is rarely
matched in contemporary fine art, animated film or theatre design.
Bourek was born in Požega, Croatia in 1929. He received his primary and high school
education in Osijek where he first came in contact with puppet theatre aimed at adult audience
in his early childhood in the form of street fair amusing and naughty puppet performances,
then during his high school days in the form of morality plays and public stagings of Lives of
Saints in a local seminary where he attended Latin lessons, as well as a grotesque puppet
theatre shorts in a form of cabaret acts using ironic couplets at an inn in Osijek. The
expressiveness of the form of puppets as well as the clever use of language that encompassed
those short theatrical narratives stayed to these days Bourek's main preoccupation in his
explorations of the visual communication potentials in the realm of puppet theatre.
Already in his first professional outing to the world of theatre design in 1959 (a mediaeval
anonymous play The Farce of Master Pierre Pathelin and Eustache D’Amiens' fabliau The
Butcher of Abbeville), his designs are marked by his own remarkable, visually and
dramatically functional and simple yet playful visual solutions that communicate just as well
with an educated theatre audience as well as with any layman entering the world of theatre for
a very first time. His costume and set design for those productions and his treatment of the
actor's body as a canvas borders with the art of circus and expressiveness of a puppet show. From 1970's to the present, Bourek has been the key figure in the revival of Croatian puppetry
that has until then been marginalized as a mere entertainment for children with a scarce
educational feature. Visual language of Bourek's puppet theatre is not a follower of fashion of
short-lived trends. His figure theatre aimed for adult audience follows exclusively artist's own
analysis and interpretation of the symbols and meanings contained within a dramatic text.
And just because of those universal qualities that his visual language possesses, the reception
of his work was excellent wherever he tried himself out as a puppet designer — in Croatia,
Slovenia, Germany or touring with his plays around Old and New world.
The third, main chapter is dedicated to the analysis of Bourek's puppet plays aimed at adult
audience at the examples of following plays: Orlando Maleroso by Salih Isaac, Stoppard's
Hamlet, Skup and Dundo Maroje by Držić, Štok's Divine Comedy, Lysistrata by
Aristophanes, a farce Rigoletto, Maître Pierre Pathelin by an unknown author, Molière's The
Imaginary Invalid and Ubu-Roi by Alfred Jarry. The analysis encompasses the use of basic
visual resources, symbols and archetypes in puppet design, description of artist's creative
processes in making design decisions (interviews with the artist), and it explains the
dramaturgical function of visual aspects of a puppet that serve realization of the appropriate
reception of the work of art.
A definite milestone, Orlando Maleroso, written by Salih Isaac in 1977 for Dubrovnik
Summer Festival, was a play that spun out Croatian puppetry from its soporific orbit of
amusing and educational plays aimed exclusively at children. The play stages a well known
local legend of a knight Orlando liberating people of Dubrovnik from Saracens in a form of
light fairground entertainment for ordinary people.
Bourek's Hamlet, based on Stoppard's 15 minute Hamlet and adapted by Damir Munitić,
staged in 1982 in Zagreb, adapts Japanese traditional technique ningyō jōruri. Here Bourek
combines Shakespeare's protagonists with visual elements echoing memories of Holocaust
and erotic elements on the verge of subliminal. The play was an immediate hit and it toured
the world on its wits (and wheels) alone, reaching a high number of seven hundred
performances.
Divine comedy by Isidor Vladimirovich Shtok, produced by Ljubljana Puppet Theatre in
1982, combines puppets with masked actors whose costumes have been rather sculpted than
tailored, all set on a simple monochromatic stage that, in combination with puppets and
sculptural costumes, creates a homogenous skillfully designed stylized image of the creation
of the world, paradise, temptation and exile of Adam and Eve from the Garden of Eden. Skup by Marin Držić, staged at Dubrovnik Summer Festival in 1983, combines puppetry and
live theatre once again echoing visuality of travelling mediaeval and renaissance puppet
entertainers, the whole performance space consisting of a shabby wooden cart inhabited by
puppets and pulled by the only live actor in the play, Izet Hajdarhodžić who has made his
career playing Skup for twenty five years in serious productions prior to this puppet version
of Držić's classic. Puppets dominating over a man in Bourek's visual interpretation of Skup are
inverting once more Držić's concept and the relation between the people real and fake.
Lysistrata by Aristophanes, staged in 1987 at the Ljubljana Puppet Theatre, divides the world
of women, played by live actresses, from the world of men embodied by large, almost lifesize
masterfully designed figures following the aesthetics of mediaeval altar figures using
strong expressive colours and very noticeable characteristics of male gender.
In 1989 Bourek designed and directed the farce Rigoletto (after the motifs of Victor Hugo's
play in verse The King Amuses Himself and Francesco Maria Piave's libretto for Verdi's
opera) in Hans Wurst Nachfaren Theatre in Berlin. Grotesque figures that populate the stage
and their potent visual expressiveness use the same technical solutions as does his Hamlet.
Eclectic approach to his designs for Dundo Maroje staged in Dubrovnik in 1990 results in
engaging imagery that combines visual elements of local folklore, use of theatrical masks and
symbols such as oversized loaves of bread, big noses and sexual characteristics that are
archetypal to Bourek's visual language and have, over the time, became an organic and
inseparable part of his aesthetics in all artistic fields (from theatre design, fine arts, applied
arts or film) that encompass his vast opus.
In 1992, in the production of Zagreb Youth Theatre, Bourek tackles once again the mediaeval
farce Maître Pathelin which begun his career as a theatre designer in 1959, but this time in
puppetry medium, a play using hand puppets aimed chiefly at senior population.
Molière's The Imaginary Invalid, produced in 1998 by Ljubljana Puppet Theatre, uses large
mouth puppets that are, apart from hand puppets and puppets on wheels, dominant in
Bourek's puppetry works. Grotesque surreal figures, designed as literal spatial drawings of
Molière's caricatural characters, exquisitely depict and exaggerate human flaws in a lively and
extremely humorous burlesque.
Ubu Roi by Jarry, designed and directed for Split Summer Festival in 2005 merges between
puppetry and live theatre. Bourek's sculptural approach to costume design, transformation of actors to live figures using purely visual treatment such as the use of grotesque masks,
integration of flat puppets and stage props that are visually inseparable from the actors bodies,
as well as stylized postures and body movement of players really do transform actors into
large breathing figures that populate the world of Bourek's oversized teatrino.
The fourth chapter presents and analyzes Bourek's treatment of an actor as a puppet on the
example of performances St. George, Bećarac and Skup, whence the communicational
function of the visual elements of the performance is achieved precisely by stepping outside
the limits of the real and validating the surreal as the only theatre norm.
Saint George from 2004 was staged in Croatian National Theatre in Zagreb and it marks the
first entrance of puppet orientated performances into national theatres in Croatia. The
imaginative visual mixture of horror and humor is unique in this fairytale-like production.
Large, heavy rubber masks with their frozen grotesque expressions, limited body movement
of the actors, in visual and dramaturgical terms function as a spectacular puppet performance.
Bećarac is Bourek's hymn to the realm of his childhood days, to Slavonia — the land of
abundance, lasciviousness of its people and richness of the spoken language in decasyllabic
verse. Bourek's design for the play is sophisticated symbolic interpretation of Slavonian
folklore imagery and ornaments, with great attention to every small detail. The play is a
sequence of grandiose images, while his treatment of the actors is driven by the vocal
determinants and rhythm of decasyllabic verse that is, with the carefully thought-through and
refined stage movement, turning performers into large living figures.
Skup from 2008 is using types of Commedia dell'Arte for its visual interpretation of
characters depicted in Držić's play that serve as a reflection of Renaissance era to which both,
Držić's writing and Commedia dell'Arte belong. But the use of masked types including
carefully designed costumes, posture, movement and the specific style of enunciation in
delivering the text, transform actors once again into oversized puppets — caricatures of man's
virtues and flaws.
The fifth and concluding chapter is a synthesis of the arguments proposed within the critical
analysis of the preceding chapters, by which the hypothesis defining characteristics that make
dramaturgically functional puppet in the grotesque figure theatre of Zlatko Bourek, as well as
in puppetry design in general, is substantiated.
Classics of Croatian and world dramatic literature are often Bourek's choice for his figure
theatre aimed at adult audience. Nevertheless, Bourek always makes provisional adaptations to the original text, he is cutting out to his own liking characters written by the author, adding
Death, Devil and Sexuality that determine his visual dramaturgy and personal symbolism
within theatre as well as in the other fields of fine or applied art. Aware of the fact that
theatrical performance is, apart from the spoken text and its artistic interpretation by the
actors on the stage, in its essence predominantly spatial, visual art form, Zlatko Bourek is
using those expressive elements within theatre to their full extent.
Using various puppet technologies and styles, combining traditional and deeply rooted
techniques with Far East puppetry styles, treating actors as live puppets and constant
reinvention of the visual potentials of the puppetry medium and eclectic but meaningful
approach to his designs and visual communication within theatre, mark Bourek's industrious
career and his inexhaustible, almost childlike energy and enjoyment in play, that produced
performances that have most certainly changed and enriched Croatian and European puppetry.
Bourek is well educated in the fields of art history, literature and a skillful practitioner of
painting, sculpture, illustration, animated and feature films, as well as in the field of theatre
design. Even though, he is not restrained by the historical accuracy of a design. Zlatko Bourek
is, in order to achieve the inteded reception of a performance, shaping the poetics of his
microcosm of a grotesque figure theatre guided by the rich complexity of symbols and
archetypes, by rules of theatricality and appropriateness, setting the surreal as the only norm
