1,721,386 research outputs found
D. Raev and A. Staneva. Hypertension and carotid intima-media thickness. Part I. Methodology
No full textАдрес за кореспонденция:
Доц. д-р Димитър Раев,
Медицински институт – МВР;
бул. „Скобелев” № 79;
1606 София;
email: [email protected] ***** Address for correspondence:
Assoc. Prof. Dimitar Raev, MD;
Medical Institute – Ministry of Interior;
79, Skobelev Bul.;
1606 Sofia;
email: [email protected]Резюме. Първите морфологични промени в артериалната стена могат да бъдат визуализирани чрез B-mode ултрасонография. Каротидната ехография е използвана в многобройни клинични изследвания за мониториране на дебелината на каротидната интима-медия (ДКИМ). ДКИМ може да дефинира съдовата възраст и предклиничната атеросклероза. По-късните стадии на атеросклероза (плаки, стенози) също могат да бъдат визуализирани в присъствие или отсъствие на удебелен интима-медия комплекс. ДКИМ трябва да се измерва само на стандартно място с ултразвукови апарати с висока аксиална резолюция – на отдалечената стена на края на общата каротидна артерия и каротидния булбус по време на теледиастола. Крайната ДКИМ се определя от средните стойности на дебелината на двете общи каротидни артерии.
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Summary. The first morphological abnormalities of arterial wall can be visualized by B-mode ultrasonography. The carotid echography has been used in a number of studies to monitor the intima-media thickness (IMT) of the carotid arteries. The carotid IMT may define the vascular age and preclinical atherosclerosis. Later stages of atherosclerosis (plaques, stenoses) can also be identified either coincident with or in the absence of thickening intima-media complex. Carotid IMT should be measured only at standard place using high-axial resolution ultrasound system – on the far wall in the end of common carotid artery and at carotid bulb in end-diastole. The final carotid IMT is defined as averaged values of thickness ot both common carotid arteries
Migration and Creativity : Positioning and Ambiguity in the Oeuvre of the Russian-German Artist Georg Schlicht (1886-1964)
No full textThe phrase “German by passport, Russian by heart” summarizes, but at the same time simplifies the complex artistic legacy of Georg Schlicht. Schlicht was born into a family of Volga Germans, brought up in Saratov and educated in Moscow, but was forced to leave Russia in the aftermath of the 1917 upheavals. His creativity reflects the ideological twists and turns of his lifetime and his legacy mirrors his belonging, in the sense of his whereabouts in Germany, the land of his fathers, and the longing for his spiritual home in Tsarist Russia, a country that had ceased to exist. The aesthetic dichotomy of his oeuvre is the theme of this volume, in which an international team of researchers from Britain, Germany, Russia, Belarus and the Netherlands have undertaken, for the first time, to chart and illuminate the various stations of Schlicht’s life and art – an existence that swayed between his Russian motherland and his German fatherland. Rather than applying the (received) reflectionalist model of the relationship between history and culture, they argue in favour of categories such as settlement and mobility, appreciation and neglect, positioning and ambiguity as three modes characteristic of the artistic legacy of migrating people and ideologies.Der Band „Kreativität und Migration. Positionierung und Ambiguität im OEuvre des russlanddeutschen Künstlers Georg Schlicht (1886-1964)“ thematisiert das Außenseiter- und Grenzgängertum einer von dramatischen politischen Umbrüchen gezeichneten Existenz in der Diaspora und deren komplexe und widerspruchsvolle künstlerische Verarbeitung.
Schlicht wuchs in Saratov als Sohn eines wolgadeutschen Vaters und einer russischen Mutter auf. Seine künstlerische Ausbildung erhielt er in Moskau. Doch als Reichsdeutscher mit deutschem Pass musste er Russland nach der Revolution von 1917 verlassen und gelangte nach Berlin. Später gehörten Eisenach und Hamburg zu seinen Wohn- und Arbeitsorten und in der NS- und Nachkriegszeit wieder Berlin.
Dem Vermächtnis dieses Künstlers widmet sich nun erstmals ein internationales Forscherteam aus Belarus, Deutschland, Großbritannien, den Niederlanden und Russland. Die hier versammelten Beiträge von Ada Raev, Tat’jana Savickaja, Olga Litzenberger, Victor Dönninghaus, Igor Dukhan, Susanne Marten-Finnis, Albert Lemmens, Serge Stommels und Nicolas Dreyer beleuchten den Werdegang von Georg Schlicht aus transkultureller Perspektive. Sie orientieren sich an den Parametern Positionierung und Ambiguität, Mobilität und Sesshaftigkeit, Zuspruch und Ablehnung. Damit erkundet der vorliegende Band Schlichts Prägungen als Russlanddeutscher und verortet das Festhalten dieses Künstlers am Althergebrachten – seine facettenreiche Rückwärtsgewandtheit und Kritik der Moderne – sowohl im Kontext der Russischen Emigration als auch der europäischen Geistes- und Ideengeschichte
The Russian-Byzantine treaty of 971: Theophilos and Sveneld
No full textThis article investigates certain textual problems which exist in the Russian-Byzantine treaty of 971. The text of this document survives only in the medieval Russian chronicle, 'Povest’ Vremennikh Let'. Two problems are investigated. The first one concerns the name of synkellos Theophilos, and the second deals with the name of Sveneld. The author proposes that there was a metathesis in the former name and that, in the original Byzantine text, he was known as Philotheos, as referred to by Leo the Deacon for the events in 969. The metathesis in his name may illuminate certain problems of transmission of historical information between different Byzantine and early Russian works. The author argues not only that Leo the Deacon and John Scylitzes drew on a number of common sources (at least two), but so did Scylitzes and the writer of PVL, in particular for the section concerning the Russian-Byzantine treaty of 971.L’auteur examine quelques problèmes textuels concernant le traité russo-byzantin de 971. Le texte de ce document est conservé seulement dans la chronique russe médiévale «Povest’ Vremennikh Let». Deux problèmes sont examinés. Le premier concerne le nom du synkellos Théophilos, le second a trait au nom de Sveneld. L’auteur suppose qu’il y a eu une métathèse dans le premier nom et que, dans le texte byzantin original, il était appelé Philothéos, tel qu’il est cité par Léon le Diacre pour les événements de 969. La métathèse dans son nom peut éclairer certains problèmes de transmission de l’information historique entre diverses oeuvres byzantines et russes primitives. L’auteur soutient non seulement que Léon le Diacre et Jean Skylitzès se sont appuyés sur quelques sources communes (au moins deux), mais que c’est le cas de Skylitzès et de l’auteur de la chronique russe, en particulier pour la section concernant le traité russo-byzantin de 971.Raev Mikhail. The Russian-Byzantine treaty of 971: Theophilos and Sveneld. In: Revue des études byzantines, tome 64-65, 2006-2007. pp. 329-340
Aleksandr Puškin and the Caucasus. Literature. History. Images
No full textDer Band Aleksandr Puškin und der Kaukasus. Literatur. Geschichte. Bilder beleuchtet jene Phase der russischen Geschichte und Kultur, als im Zuge der Expansionspolitik des Zarenreiches neue, ferne Gebiete in den Blick gerieten. Gerade die Kaukasusregion bildete mit ihrer atemberaubenden Bergwelt und den dort seit alters her ansässigen Völkern mit unterschiedlichen Religionen, Sitten und Gebräuchen für die Konstituierung des Selbstverständnisses des Dichters Aleksandr Puškin (1799-1837) und der russischen Gesellschaft eine Herausforderung.
Die Beiträge von Rolf-Dietrich Keil, Elisabeth von Erdmann, Leonid Arinštejn, Wolfgang Stephan Kissel, Andreas Ebbinghaus, Thomas Grob, Ada Raev und Sebastian Kempgen bewegen sich räumlich, zeitlich und methodisch zwischen unterschiedlichen Polen. Die Zugangsweisen umfassen biographische, macht- und geopolitische, literaturwissenschaftliche, ideengeschichtliche, kulturwissenschaftliche, kunsthistorische und wissenschaftsgeschichtliche Fokussierungen.
In der Zusammenschau von unterschiedlichen Quellen, literarischen Werken und bildkünstlerischen Zeugnissen wird herausgearbeitet, dass der Kaukasus aus russischer Sicht im ersten Drittel des 19. Jahrhunderts viele Gesichter hatte: Er war gleichermaßen mythengesättigter „Mundus Imaginalis“, Ort romantischer Sehnsucht und orientalischer Phantasien, „imperiale Landschaft“ und vielgestaltige Kulturlandschaft. Darüber hinaus diente er als Inspirationsquelle für neue literarische und bild-künstlerische Genres, als Erkenntnisraum und Prüfstein für den Begriff der Zivilisation. Neben Besonderheiten des russischen Orientdiskurses wird abschließend der Umgang des modernen Georgien mit dem kulturellen Erbe der einstigen Besatzer thematisiert.The volume Aleksandr Puškin and the Caucasus. Literature. History. Images examines a period of Russian history and culture in which new distant territories came into view as a consequence of Russian expansionism. The Caucasus region with its stunning mountain landscapes and its ancient peoples of various religions, habits and customs posed a challenge both to the development of Aleksandr Puškin’s (1799-1837) self-concept as a poet as well as to the formation of the identity of the Russian society as a whole.
The articles written by Rolf-Dietrich Keil, Elisabeth von Erdmann, Leonid Arinštejn, Wolfgang Stephan Kissel, Andreas Ebbinghaus, Thomas Grob, Ada Raev and Sebastian Kempgen encompass different aspects of time, space and methodology. The theoretical approaches include biographical, power-political, geopolitical and literary focuses, as well as an emphasis on the history of ideas, cultural science, history of art and history of science.
In the synopsis of diverse source material, including works of literature and visual arts, it becomes apparent that from the Russian perspective in the first third of the 19th century, the Caucasus had many faces. It simultaneously was a mythological “Mundus Imaginalis”, a place of romantic longing and oriental phantasies, an “imperial landscape” and a territory with multifarious cultural landscapes. It served as a source of inspiration for new literary and artistic genres, a place of cognition and a touchstone for the concept of civilization. Apart from specific aspects of the Russian orientalist discourse, it is also discussed how modern Georgia deals with the cultural heritage of its former occupiers
Zwischen Unstimmigkeit und Andersdenken. Inoffizielle sowjetische Kunst auf der Biennale di Venezia 1977
No full textGoing Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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