15 research outputs found
Performance and fatigue charateristics of paralympic athletes with cerebral palsy
No full textIncludes bibliographical referencesThe studies described in this thesis were the first to investigate in - depth body composition, exercise performance and neuromuscular characteristics of elite Paralympic athletes with cerebral palsy (CP). In the first study, in - depth whole body and site specific body composition was investigated in six athletes with CP using dual - energy x - ray absorptiometry. There were no differences between non - affected and affected sides with respect to bone mineral density and fat mass. Fat free soft tissue mass was lower on the affected side in bot h upper and lower limbs of the athletes. The novel findings of this study provided the first insight into anthropometric and bone physiology of elite Paralympic athletes with CP, and the possible residual effect of CP in these individuals. In the second study, five athletes with CP and 16 able - bodied (AB) age and performance matched controls performed a 30 second Wingate sprint cycle test. Power output was significantly higher in the AB group, although fatigue indices were statistically similar between groups. Muscle activity changed similarly in all muscle groups tested, in both affected and non - affected sides, in both CP and AB groups. However, certain neuromuscular irregularities were identified in the CP group. The similarity in fatigue profile was a novel finding. It was proposed that this similarity in fatigue was the result of long term high level athletic training required for Paralympic competition. Study three tested the similarity in fatigue between CP and AB athletes (that was described in the second study), using an externally paced fatiguing running trial. Six athletes with CP and 12 AB athletes performed one 40 m sprint test and vertical jump tests off both legs, the affected leg individually and the non - affected leg individually, before and after an adapted multistage shuttle run test to exhaustion. The 40 m sprint test, vertical jump off both legs and vertical jump off the affected leg were significantly compromised in the CP group, while vertical jump off the non - affected leg was similar between groups. Both groups fatigued similarly with regard to performance and muscle activity. The third study's finding s generally supported those of the second study. However, it was shown that although athletes with CP may represent a group of individuals who have achieved maximal physiological adaptation toward AB levels, the activity generated by both legs was performed towards the capacity of the affected leg. Study four attempted to elucidate explanations for the novel findings in studies 2 and 3 through investigation of pacing strategies employed by these athletes. Six athletes with CP and 13 AB athletes performed two trials of eight sets of ten shuttles (totalling 1600 m). One trial was distance deceived and the other was non distance deceived. The CP group ran slower than the AB group in both trials, and differences in pacing were observed in the deceived trial in the CP group. This novel study provided evidence for a possible pacing strategy underlying the exercise performance and fatigue profiles observed in the athletes with CP documented in the previous studies. The work described in this thesis lends novel insights and understanding to the physiology and physiological adaptations of highly functioning ambulant athletes with CP. The findings might have important implications with respect to the understanding of rehabilitation, coaching and clinical management of individuals with CP
Rubor: Reflections on Medicine from the Wasatch Front: 2019 (Issue 7)
No full textPostcard to My Dermatologist (Front Cover) - Phoebe Draper; On Being a Different Man p.4 - Luke Mirabelli; Triplets p.5 - Anne Vinsel; Holes p.6 - Stephen Mossbarger; Tree of Hippocrates p.7 - Michael Bishop; Balance p.8 - Kevin Rodriguez; Mourning\u27s Glory p.8 - Lindsey Wright; Team 1 p.9 - Lillian Boettcher; A Joke a Day p.10 - Christian Schmutz; Snoop p.12 - Ali Etman; Rules for Attending Withdrawing Care Conferences p.13 - Dannen Wright; The Gift p.14 - David K. Twitchell; Differential Diagnosis: Climate Change p.15 - Adam Kessel; "Worlds Apart" p.16 - Jorgen Madsen; PICU Rambling p.17 - Tyler Brown MD, Kajsa Vlasic; What\u27s Worse p.17 - Julie Kilpatrick; Bye Bye Baby: Mom\u27s Perspective p.17 - Anna Shvartsur; Who Heals the Healer? p.18 - Jenna Tiller; Mooring p.19 Hunter Wright; Step 1 p.19 Anonymous; To Astra in Clinic 6 p.20 - Dannen Wright; The Words We Use: Observations from Psych Rotation p.20 - Anna Shvartsur; Windows p.21 - Jordan Peacock; Hospital Tourism, Benjamin Drum p.22 - MD, PhD; Nirvana, Awais Riaz p.23 - MD, PhD; Of Patients and People p.24 - Ben Berger p.25 - Magpie Wisdom, Romany Redman, MD; NPO p.26 - Amy N. Cowan, MD; Author Biographies, p.28; Jack\u27s Mountain - Serena Fang (Back Cover
Gendercomic
No full text“Gendercomic” draws from two main sources to create a graphic narrative about gender and process. One source is the “Big Five,” the women whose work Hillary Chute examines in her book Graphic Women. These five women (Alison Bechdel, Lynda Barry, Marjane Satrapi, Phoebe Gloeckner, and Aline Kominsky-Crumb) have created graphic narratives, as Chute terms their work, which are works of book-length nonfiction that can only be told through the combination of words and images. The Big Five eke out a space for themselves in a comics world that has only recently become a little friendlier to women. Each narrative foregrounds the creator, demanding a space for themselves and their content in a male-dominated industry. Zine culture, the other main influence on “Gendercomic,” similarly foregrounds creators.
“Gendercomic” emerged partially from zine culture and the Oberlin Comics Collective (OCC). OCC publishes student comics and provides opportunities to attend comics conventions including Genghis Con and Comics Crossroads Columbus, and as a result the chance to learn from many contemporary zine and comics creators. Elements of zine culture found in “Gendercomic” include the playlist, handwritten text, and printing process. Including a playlist foregrounds the creator as a person with an existence beyond (but connected to) their work. All the text and drawings in “Gendercomic” are individually inked. Handwriting, as Chute argues, is incredibly personal and allows readers to connect with creators. Lastly, printing on a risograph reaffirms the handmade quality of “Gendercomic” and empowers the process of self-publishing and circulating “Gendercomic.”
“Gendercomic” contains both process comics and personal narratives. The process comics (titled “The…”) make transparent the development of the work. Although similar works could have served as helpful models, no works with all major elements of “Gendercomic” were available as models. Information about the process of creating “Gendercomic” will hopefully be useful for other creators. The personal narratives in “Gendercomic” focus on the author’s relationship with gender and gender studies. One purpose of creating these narratives is personal healing, but aside from that motive, the narratives provide an opportunity for readers to learn about gender studies topics free from the often-convoluted language of scholarly articles. This accessibility has been a main goal of the work even as its form and content have evolved. Other gender studies majors can already learn about the topics “Gendercomic” addresses through scholarly articles. “Gendercomic” is intended primarily for people in the author’s life who are not studying gender studies: family, peers from home, and non-professor adults.
“Gendercomic” exists at the intersection of the Big Five and of zine culture. The author includes doodle monsters in the style of Lynda Barry, draws Oberlin scenes as does Alison Bechdel, and grounds the work in zine culture. “Gendercomic” includes two types of comics in order to make process and gender studies topics accessible. By synthesizing influences, “Gendercomic” demands space for the author and the work to exist and be valued in academia
Lost Objects and Fugitive Subjects in Contemporary Female Self-Writing, 1997-2016
No full textThis dissertation engages with contemporary female authors whose theory, scholarship, and aesthetic works theorize female self-representation. My claim is that Julie Maroh, Phoebe Gloeckner, Alison Bechdel, Anne Carson, Ruth Ozeki, and Maggie Nelson are explicitly engaged in theorizing female authorial subjectivity in their treatment and varying combinations of fiction, scholarship, and memoir. I place these authors in conversation because they represent what I identify as a contemporary mode of gendered self-writing whose authors write through and across multiple literary genres to produce critical theories of the female subject, either explicitly in their bodies of scholarship or by way of the aesthetic works they produce, that can be used to understand the versions of representation of subjectivity that emerge in their literature. I name this authorial mode auto-critical literature, by which I mean fiction and nonfiction that deploy form to criticize and theorize literary self-construction and representations of subjectivity. My contention is that these contemporary female authors respond to and construct literature out of and against French modernism, and in particular, the model of self-writing that Marcel Proust establishes in the relationship between his narrator and Albertine in À la recherche du temps perdu, and thus propose contemporary alternatives to Proust’s modernist construction of the author in relation to absence and presence: the present, male writing subject and the absent, “lost” female written object. Their attention to this mode of authorial construction is in response to this inherited literary tradition of the construction of women as lost objects, as they seek to subvert these gendered constructions of absence and presence that have historically refused interiority to female subjects, rendering them outside of, or fugitive to, normative practices of subject formation. This auto-critical mode of contemporary female self-writing, I argue, resists the normative authorial impulse to construct a version of the self by aestheticizing an object or other, absenting and rendering that other, that foreign entity, lost in the process. From queer theory, I consider this resistance as a mode of fugitive literary attention, which I track through the work of authors that are the subject of this dissertation
Uncovering Shakespeare\u27s Sisters in Special Collections and College Archives, Musselman Library
No full textForeword by Professor Suzanne J. Flynn
I have taught the first-year seminar, Shakespeare’s Sisters, several times, and over the years I have brought the seminar’s students to the Folger Shakespeare Library in Washington, D.C. There, the wonderful librarians have treated the students to a special exhibit of early women’s manuscripts and first editions, beginning with letters written by Elizabeth I and proceeding through important works by seventeen and eighteenth-century women authors such as Aemelia Lanyer, Anne Finch, Aphra Behn, and Mary Wollstonecraft. This year I worked with Carolyn Sautter, the Director of Special Collections and College Archives, to give my 2018 seminar students the opportunity to produce a sequel to the Folger exhibit of early modern women writers. Special Collections houses an impressive array of first editions from the nineteenth and twentieth centuries, many of them acquired from Thomas Y. Cooper, the former editor of the Hanover Evening Sun newspaper, who donated over 1600 items to Musselman Library in 1965.
Working with Kerri Odess-Harnish, we chose first editions of eight significant works of literature written by American and British women from the mid-nineteenth through the mid-twentieth centuries. The students worked in pairs, researching a single book and producing a report that outlines important biographical facts about the author, the book’s publication and reception history, and finally the significance of the book in the years since its publication. We hope that our project will draw attention to the wealth of literary treasures housed in Special Collections at Musselman Library, but especially to these works by eight of “Shakespeare’s Sisters.
Desiring the east: a comparative study of Middle English romance and modern popular sheikh romance
No full textThis thesis comparatively examines a selection of twenty-first century sheikh romances and Middle English romances from the fourteenth and fifteenth centuries that imagine an erotic relationship occurring between east and west. They do so against a background of conflict, articulated in military confrontation and binary religious and ethnic division. The thesis explores the strategies used to facilitate the cross-cultural relationship across such a gulf of difference and considers what a comparison of medieval and modern romance can reveal about attitudes towards otherness in popular romance.
In Chapter 1, I analyse the construction of the east in each genre, investigating how the homogenisation of the romance east in sheikh romance distances it from the geopolitical reality of those parts of the Middle East seen, by the west, to be "other". Chapter 2 examines the articulation of gender identity and the ways in which these romances subvert and reassert binary gender difference to uphold normative heterosexual relations. Chapter 3 considers how ethnic and religious difference is nuanced, in particular through the use of fabric, breaking down the disjunction between east and west. Chapter 4 investigates the way ethnicity, religion and gender affect hierarchies of power in the abduction motif, enabling undesirable aspects of the east to be recast.
The key finding of this thesis is that both romance genres facilitate the cross-cultural erotic relationship by rewriting apparently binary differences of religion and ethnicity to create sameness. While the east is figured differently in Middle English and modern sheikh romance, the strategies they use to facilitate the cross-cultural erotic relationship are similar. The thesis concludes that the constancy of certain attitudes towards the east in both medieval and modern romance reveals a persistence of conservative values in representations of the east in romance
Iowa History and Culture : A Bibliography of Materials Published Between 1952 and 1986, 1989
No full textThis bibliography was compiled by two reference librarians, Patricia Dawson and David Hudson with the goal of making it easier of tracking down material on Iowa history and culture. This supplements the Iowa History Reference Guide published in 1952 by William Petersen
Beyond the pink: (post) youth iconography in cinema
No full textBeyond the Pink: (Post) Youth Iconography in Cinema is a project in cultural time travel. It cuts up linear cinematic narratives to develop a hop-scotched history of youth, Generation X and (post) youth culture. I focus upon the pleasures, pedagogies and (un)popular politics of a filmic genre that continues to be dismissed as unworthy of intellectual debate. Accelerated culture and the discourse of celebrity have blurred the crisp divisions between fine art and crude commodity, the meaningful and meaningless, and real and fictive, unsettling the binary logic that assigns importance to certain texts and not others. This research project prises open that awkward space between representation and experience.
Analysts require methods and structures through which to manage historical change and textual movement. Through cinema, macro-politics of identity emerge from the micro-politics of the narrative. Prom politics and mallrat musings become imbued with social significance that speak in the literacies available to youth. It grants the ephemerality and liminality of an experience a tactile trace. I select moments of experience for Generation X youth and specific icons - Happy Harry Hardon, Molly Ringwald, the Spice Girls, the Bitch, the invisible raver, teen time travellers Marty McFly and Donnie Darko, and the slacker - to reveal the archetypes and ideologies that punctuate the cinematic landscape. The tracked figures do not configure a smooth historical arc. It is in the rifts and conflicts of diverse narratives and subjectivities where attention is focused.
This research imperative necessitates the presentation of a series of essays arranged in a tripartite framework. The first section proposes theoretical paradigms for a tethered analysis of filmic texts and Generation X. The second segment explores sites of struggle in public spaces and time. The final section leaves the landscape of post-Generation X to forge the relationship between history, power and youth identity. I particularly focus on the iconography, ideologies and imaginings of young women to lead the discussion of the shifts in the experience and representations of youth. By reinserting women into studies of film, it is imperative to stress that this is not a dissertation in, and of, women's cinema. Rather, it serves as an historical corrective to the filmic database.
The existing literature on youth cinema is disappointing and narrow in its trajectories. Timothy Shary's Generation Multiplex: The Image of Youth in Contemporary American Cinema and Jon Lewis' The Road to Romance and Ruin: Teen Films and Youth Culture exemplify the difficulties of capturing the complexities of individual films when they are collated in artificial and stifling categories. At one end of the analytical spectrum is the critique that comes with the caveat of 'it's just another teen movie'. Jonathon Bernstein's monograph Pretty in Pink: The Golden Age of Teenage Movies is one such example which derails into acerbic diatribes and intellectual dismissal. The Cinema of Generation X: A Critical Study by Peter Hanson is a more successful project that is interested in the influences that inform a community of filmmakers than arriving at a catalogue of generic themes and narratives. There is an emphasis on the synergy between text, producer and readership.
I continue this relationship explored by Hanson, but further accent the politics of film. The original contribution to knowledge offered by this doctoral thesis is a detailed study of (post) youth popular culture, building into a model for Generation X cinema, activating the interdisciplinary perspectives from film and cultural studies. With its adaptability into diverse media forms, cultural studies paradigms allow navigation through the expansive landscape of popular culture. It traverses beyond simple textual analyses to consider a text's cultural currency. As an important carrier of meaning and sensory memories, cinema allows for alternative accounts that are denied in authorised history. As a unique form with its own visual literacy, screen theory is needed to refine observations. This unique melding of screen and cultural studies underscores the convergent relationship between text, readership, production and politics.
This doctoral thesis activates concepts and methods of generationalism, nationalism, social history and cultural practice. There is a dialogue between the chapters that crosses over text and time. The 1980s of Molly Ringwald shadows the dystopia of Donnie Darko. The celebrity status of the Spice Girls clashes with the frustrated invisibility of the female raver. Douglas Coupland's vision of Generation X in 1991 has evolved into Richard Linklater's documentation of post-youth in the new millenium. Leaping between decades through time travel in cinema, I argue that the nostalgic past and projections for the future evoke the preoccupations and anxieties of the present
The liturgical vision of Augustus Welby Northmore Pugin
No full textThe aim of this thesis is to argue that Augustus Welby Northmore Pugin (1812-1852) was a liturgist who had a liturgical vision. He is commonly regarded as an architect and designer per se, but many believe he had eccentric ideas, was a fanatic for the Gothic style of architecture and that while he was religious, he had little impact on the religious controversy and events of his time. The thesis will bring forward a different picture of him. The reasons put forward to support the claim that he was a liturgist are that he had a particularly definition of liturgy; he studied liturgy for three years; he employed a particular method of writing, which was commonly used by past liturgists; many of his authorities were liturgists and historians, as well as architects and designers, and his sources related to liturgy. Pugin went from attacking Protestants, to defending his views against Roman Catholics. To argue for his views, Pugin employed a particular methodology, which included a vast number of authorities and sources. He offered to England an alternative setting of the Roman rite. The new converts who had seceded from the Church of England to the Church of Rome, including John Henry Newman and his circle, did not support him and this led to a major conflict. Their different views of liturgy became a matter of judgement for the Roman Catholic Church. Pugin was influenced by Continental, particularly French, Roman Catholic scholars and liturgists. The influence of the leader of the liberal Catholics in France, Charles-Forbes-Rene, Count de Montalembert, is also brought to light. The thesis will argue that Pugin sought to implement his views on liturgy in England and had a vision of a future England that could act as an example to the rest of Catholic Christendom, including the Church of Rome. He initially had a measure of success, but finally failed and bowed to the judgement of the Roman Catholic Church
Apocalypticisim in the fiction of William S. Burroughs, J.G. Ballard, and Thomas Pynchon.
No full textApocalypse should not be thought of as merely a synonym for chaos or disaster or cataclysmic upheaval; more properly we should think of disclosure, unveiling and revelation. The exact status of literary apocalyptic is the subject of some debate, and in an attempt to help clarify matters an introductory historical survey examines both the formal characteristics of apocalypse and the various critical positions taken in regard to the genre's social influence. Texts considered in the chapter include the Revelation of John and Thomas Pynchon's short story Entropy (1959); theoretical works by Frank Kermode, John Barth, and Jean Baudrillard (amongst others) are also discussed. Chapter One traces the development of William S. Burroughs's apocalyptic sensibility through readings of his correspondence with Allen Ginsberg and the novel The Naked Lunch (1959); the latter's apocalyptic title referring to the "frozen moment when everyone sees what is on the end of every fork". Chapter Two considers Burroughs's experiments with the "cut-ups" and their application in a number of texts, most notably Nova Express (1964). Chapter Three is concerned with Burroughs's work in the 1970s and 80s, and specifically his concept of Here to Go, a theory of mutability presented as a transcendental antidote to the threat of nuclear annihilation (the author's alleged misogyny and the views of radical US feminists are also taken into account). Chapters Four and Five explore the apocalyptic fiction of J. G. Ballard; topics covered include Ballard's concept of inner space, his debt to Surrealism, and the coded landscapes of his more experimental texts; in particular the "condensed novels" which comprise The Atrocity Exhibition (1970). A concluding chapter returns to the work of Thomas Pynchon, offering a reading of Gravity's Rainbow (1973) which allows us to consider his treatment of such related themes as Paranoia, Holocaust, Apocalypse, and finally, Counterforce
