127 research outputs found
Protein gene product 9.5 is diagnostically helpful in delineating high-grade renal cell cancer involving the renal medullary/sinus region from invasive urothelial cell carcinoma of the renal pelvis.
No full textThe classification of poorly differentiated carcinomas involving the renal medullary/sinus region might be challenging on conventional histomorphologic grounds alone. However, delineation of high-grade renal cell carcinomas such as collecting duct (Bellini) carcinoma from urothelial cell carcinoma of the renal pelvis is critical, as it conveys important therapeutic implications. We assessed the so far neglected differential diagnostic role of protein gene product 9.5, a neuropeptide involved in intracellular proteolysis, in terms of differentiating invasive urothelial cell carcinomas of the renal pelvis from high-grade renal cell carcinomas infiltrating the renal medullary/sinus region. To this aim, 21 invasive urothelial cell carcinomas of the renal pelvis and 27 high-grade renal cell carcinomas (8 renal cell carcinomas with sarcomatoid dedifferentiation and 5 type 1 and 7 type 2 papillary renal cell carcinomas as well as 7 collecting duct carcinomas) were stained with antibodies directed against protein gene product 9.5, CD10, vimentin, CEA, p63, CK5/6, CK7, CK20, PAX2, PAX8, CD117 (c-Kit), AE1/3, α-methyl CoA racemase, actin, and desmin. Briefly, strong protein gene product 9.5 expression was observed in 6 (86%) of 7 collecting duct carcinomas, 8 (67%) of 12 papillary renal cell carcinomas, and 2 (25%) of 8 renal cell carcinomas with sarcomatoid dedifferentiation. Conversely, none of the 21 urothelial cell carcinomas investigated showed protein gene product 9.5 expression. Our findings suggest that protein gene product 9.5, particularly if used in conjunction with p63 and CK5/6, might be helpful in differentiating high-grade renal cell carcinomas from urothelial cell carcinomas of the renal pelvis, whereas its specificity with respect to the histologic subtyping of renal cell carcinomas seems to be low. However, because of the limited number of study cases enrolled in our investigation, our findings need to be validated in the future
Aurelio Arturo und die kolumbianische Lyrik des 20. Jahrhunderts : Raum und Subjektivität im Kontext der Spätmoderne
No full textEl presente estudio tiene por objeto la representación del espacio y de la subjetividad en la obra lírica del poeta colombiano Aurelio Arturo (1906-1974) en el contexto de la modernidad tardía (según Peter Zima) y de las formas específicas que ella asume en la poesía colombiana del siglo XX. Para ello se divide la obra de Aurelio Arturo en tres fases de creación: poemas de juventud (1927-1930), poemas de la época de Morada al sur (1931-1963) y poemas tardíos (1963-1974). En el análisis de la primera fase se tiene en cuenta el fenómeno de la modernización social de la década del veinte y el modo como se sitúan ante ella Rafael Maya y José Eustasio Rivera. En el análisis de la segunda fase se tienen en cuenta los fenómenos de diferenciación social y autonomía artística y el modo como ellos inciden en la poesía piedracielista de Eduardo Carranza (1913-1985) y en la obra de Jorge Gaitán Durán (1924-1961). Para la tercera fase, finalmente, se tienen en cuenta los fenómenos de secularización y urbanización y el modo como los registran, de un lado, el Nadaísmo en la figura de Jaime Jaramillo Escobar (1932) y, de otro, la poesía de José Manuel Arango (1937-2002).
Tanto el espacio representado como la subjetividad que lo articula experimentan en la sucesión de las fases de creación arturianas una ampliación de sus dimensiones. Al espacio telúrico de los poemas juveniles lo suceden en la época de Morada al sur una serie de espacios más complejos (espacio vivido, imaginado y metafórico), complejidad a la que se añade en los poemas tardíos la integración de la espacialidad textual a la intención de sentido de los versos. La subjetividad, por su parte, deja su inicial condición político-colectiva para transformarse en una interioridad atenta al propio inconsciente y, posteriormente, en una conciencia profética (poeta vates) de carácter universal. Esta ampliación de las dimensiones a nivel del contenido y a nivel de la mediación se deja describir con el concepto de “proceso de individuación”, acuñado por C. G. Jung (1875-1961).
El presente estudio se sirve de la aplicación transgenérica de categorías narratológicas al análisis textual de poemas líricos (según Peter Hühn y Jörg Schönert).This study aims to represent space and subjectivity contained in the lyric work of the Colombian poet Aurelio Arturo (1906-1974) in late modernity (according to Peter Zima) and the specific forms it assumes in 20th century Colombian poetry. To accomplish this, Aurelio Arturo´s work is divided into three creation stages: Youth poems (1927-1930), poems from Morada al Sur epoch (1931-1963) and late poems (1963-1974). Social modernization of the twenties and how Rafael Maya (1897-1980) and José Eustasio Rivera (1888-1928) reacted to that phenomenon were taken into account to analyse the first mentioned stage. Regard the second stage, social differentiation and artistic autonomy, and the way these influenced Eduardo Carranza´s poetry (1913-1985) and Jorge Gaitán Durán´s work, were the cornerstone for the analysis. Finally, the third stage was analysed using the concepts of secularization and urbanization registered by Nadaist work of Jaime Jaramillo Escobar (1932), on one hand, and José Manuel Arango´s poetry (1937-2002), on the other.
Both, the represented space and the subjectivity, experience throughout the sequence of Arturian creation stages an enlargement of their dimensions. This amplification, in a content and mediation level, can be described by using the concept of “ individuation process” (C.G. Jung).
The present study used transgeneric application of narratologic categories to do textual analysis of lyric poems according to Peter Hühn and Jörg Schönert
Spinatrypa mariaetheresiae Halamski 2013, n. sp.
No full textSpinatrypa mariaetheresiae n. sp. (Figs 7; 8) Spinatrypa aspera – Gunia 1966: 310, 311. Spinatrypa bifidaeformis – Gunia 1968: 166, pl. 7: 18, 19. TYPE MATERIAL. — Articulated shell MB.B. 2424.2, holotype. 13 paratypes: MB.B.2414-2415; MGUWr 5360s (Spinatrypa bifidaeformis sensu Gunia, 1966; Witoszów, outcrop 15), 5361s (Spinatrypa aspera sensu Gunia, 1968; Witoszów, outcrop 15), 5364s.1- 4, 5365s. ETYMOLOGY. — In honour of Mary Theresa Olivia Fürstin von Pless, Reichsgräfin von Hochberg, Freifrau zu Fürstenstein (1873-1943), called Daisy, a former owner of the type outcrop, organiser of humanitarian aid during both World Wars. TYPE HORIZON. — Pogorzała Formation, Late Frasnian. TYPE LOCALITY. — Abandoned quarry “Lake Daisy”, Mokrzeszów (Oberkunzendorf), Świebodzice Depression, Sudetes, Poland. STRATIGRAPHIC AND GEOGRAPHIC RANGE. — Świebodzice Depression, Mokrzeszów and Witoszów, Frasnian (most probably in both cases Late Frasnian). DIAGNOSIS. — Spinatrypa with high, pronounced tongue, sixteen to twenty ribs, stout teeth and large dental cavities. DESCRIPTION Shell usually slightly wider than long(W/L from 0.95 to 1.16; mean value 1.06, N=8), subcircular in outline,nearly aequibiconvex to markedly dorsibiconvex, up to 24.0 mm wide (mean value 17.4 mm), rather thick in older specimens. Maximal width and thickness slightly posteriorly to midlength. Apical angle about 120-130°. Anterior commissure uniplicate, its deflexion rounded (more seldom subtrapezoidal) in outline, very high; occupying ⅔ of the shell width. Ventral beak (preserved only in young specimens) acute, nearly straight. Ventral interarea orthocline. Ribs spinose strong, rounded, 3-4 per 5 mm at anterior commissure, new ones appearing by bifurcation. Growth lamellae (seldom preserved) strong, 3-4 per 5 mm in central part of the shell; traces of spine insertion at intersection of growth lamellae with ribs. Interior (Fig. 8). Ventral valve: dental cavities very large; teeth strong and massive. Dorsal valve damaged in apical region in the sectioned specimen; sockets strong, crura ventrally directed. DISCUSSION This species is included within Spinatrypa on account of its coarse costation and large dental cavities. Its high, pronounced tongue is more or less constant in adult specimens (Fig. 7N, S, X, CC). The great majority of Frasnian representatives of the genus Spinatrypa possess much less pronounced tongue. This is the case of S. bunkeri Day & Copper, 1998, S. planosulcata (Webster, 1888), S. rockfordensis (Fenton & Fenton, 1924), S. thompsoni Day & Copper, 1998, and S. trulla (Stainbrook, 1945) from western North America (Day & Copper 1998), S. ningxiangensis Zhao in Yang et al. 1977 (see Ma 1992), S. subkwangsiensis (Tien, 1938) both from China (Ma et al. 2006), S. longispina (Rigaux, 1872) from Boulonnais (northern France; see Godefroid 1988), S. plicata (Rzhonsnitskaya,1964) from Russia (Rzhonsnitskaya et al. 1998), S. montanensis (Kindle, 1908) from Montana (Laird 1947), S. tribulosa Norris, 1992 from Arctic Canada (Norris et al. 1992). This may be said also about approximately coeval Spinatrypa ex gr. bifidaeformis (Tschernyschew, 1887) and Spinatrypa ex gr. semilukiana Lyashenko, 1959 from the Holy Cross Mts. (Racki & Baliński 1998), and slightly older Spinatrypa semilukiana Ljaschenko, 1959 from the Dębnik Anticline (Baliński 1979, 2006). Spinatrypa hystrix (Hall, 1858) from New York and S. obsolescens (Cooper & Dutro, 1982) from New Mexico have very low, obsolescent costae (Cooper 1944; Cooper & Dutro 1982). Two Frasnian taxa from New Mexico, Spinatrypa compacta Cooper & Dutro, 1982 and S. trulla decorticata Cooper & Dutro, 1982 may possess a large tongue. The former differs from the Sudetes material in its straight shoulder line and the latter is usually wider (Cooper & Dutro 1982). Spinatrypa lambermontensis Mottequin, 2003 from the Late Frasnian of the Vesdre nappe and the Dinant Synclinorium (southern Belgium; see also Mottequin 2008: 501; erroneously reported from the Pragian by Hubert et al. 2007: 260) is quite similar to the form described here in overall shape, yet its ornamentation is slightly finer (usually over 20 ribs in total; 16-20 in the coarse-ribbed variant of our species). Moreover, S. mariaetheresiae possesses large dental cavities, whereas only small dental nuclei are present in S. lambermontensis (Mottequin 2003: fig. 4). Spinatrypa rossica Rzhonsnitskaya in Rzhonsnitskaya, Markovskii, Yudina & Sokiran, 1998 from the Late Frasnian of SW Urals may also possess a strong tongue but the ornamentation is very coarse (total number of ribs 10-14; Rzhonsnitskaya et al. 1998). Serial sections of this species have unfortunately not been provided. In view of the comparison with all available Frasnian taxa of the genus Spinatrypa presented above the material from the Frasnian of the Sudetes is best described as a new species. It may be noted that the two nearest species, namely S. lambermontensis Mottequin, 2003 and S. rossica Rzhonsnitskaya, 1998 are both also Late Frasnian in age. The Givetian species Isospinatrypa givetica Rzhonsnitskaya, 1968 from the Kuznetsk basin (Rzhonsnitskaya 1975: pl. 24, figs 7, 8) may possess a similar tongue but is always aequibiconvex. The material from Mokrzeszów contain two forms with similar ornamentation pattern but different ornamentation density. The commoner form has coarser costae and costellae (Fig. 7 A-Y), whereas the rarer form possesses finer radial ornamentation (Fig. 7 Z-DD). In view of nearly identical shape (in particular, the characteristic tongue) they have been interpreted as two morphotypes of a single species. A similar dimorphism has been reported in Spinatrypina soetenica (Struve, 1964) (Eifel Mts, Lower Givetian; Copper 1967) and Spinatrypina (Exatrypa) relicta Racki & Baliński, 1998 (Łgawa Hill, Holy Cross Mts, Late Frasnian; Racki & Baliński 1998: 284). Both Spinatrypa aspera sensu Gunia, 1966 and S. bifidaeformis sensu Gunia, 1968 correspond to Spinatrypa sp. described here. However, the sample of Spinatrypa tubaecostata sensu Gunia, 1966 [non Spinatrypina tubaecostata (Paeckelmann, 1913)] is a mixture of fragmentarily preserved atrypids (probably all three species described here), indeterminable in large part.Published as part of Halamski, Adam T., 2013, Frasnian Atrypida (Brachiopoda) from Silesia (Poland) and the age of the eo-Variscan collision in the Sudetes, pp. 289-308 in Geodiversitas 35 (2) on pages 300-302, DOI: 10.5252/g2013n2a1, http://zenodo.org/record/453803
Hill-Song III
No full textProgram NotePercy Grainger composed two Hill-Songs at a young age, wishing to musically represent mountainous regions and the strength and freshness of its people. The Hill-Songs share the same themes, but have different structures. The first Hill-Song is over double the length of the second Hill-Song. In my Hill-Song III, I expand upon Grainger’s themes in order tocreate a middle ground work between the two earlier Hill-Songs. This work contains a complete bandstration of Percy Grainger’s song “Dedication,” which Ronald Stevenson inserted in his solo piano transcription of Grainger’s first Hill-Song. It also contains many of Grainger’s own themes.
Hill-Song III was composed with the permission of the Percy Grainger Society.
Performance NoteThis score is transposed.</p
Hill-Song III
No full textProgram NotePercy Grainger composed two Hill-Songs at a young age, wishing to musically represent mountainous regions and the strength and freshness of its people. The Hill-Songs share the same themes, but have different structures. The first Hill-Song is over double the length of the second Hill-Song. In my Hill-Song III, I expand upon Grainger’s themes in order tocreate a middle ground work between the two earlier Hill-Songs. This work contains a complete bandstration of Percy Grainger’s song “Dedication,” which Ronald Stevenson inserted in his solo piano transcription of Grainger’s first Hill-Song. It also contains many of Grainger’s own themes.
Hill-Song III was composed with the permission of the Percy Grainger Society.
Performance NoteThis score is transposed.</p
editoriale
No full textMuro/Muri Forme e rappresentazioni del muro fra lingue, letterature e arti visive
(a cura di) Alessandra Goggio, Peggy Katelhön e Moira Paleari
TESTI DI: A. Adverse, M.D. Alonso Rey, C. Balma-Tivola, L. Cazzato, M.R. Consolaro, M. Demata, I.H. Fierbințeanu, C. Fossaluzza, J. Gunia, L. Jusufi, G. Mangiapane, E. Marino, A. Mozolevska, N. Palliwoda, P. Panizzo, O. Polishchuk, V. Sauer, S. Sauermilch, C. Storskog, S. Verdiani
In copertina: Méndez Blake, Jorge, Amerika, 2019.
Le curatrici ringraziano Jorge Méndez Blake per aver concesso l\u27autorizzazione alla pubblicazione di una sua opera come copertina di AM #25.
Wall/Walls Shapes and representations of the wall in languages, literatures, and visual arts
(edited by) Alessandra Goggio, Peggy Katelhön and Moira Paleari
TEXTS BY: A. Adverse, M.D. Alonso Rey, C. Balma-Tivola, L. Cazzato, M.R. Consolaro, M. Demata, I.H. Fierbințeanu, C. Fossaluzza, J. Gunia, L. Jusufi, G. Mangiapane, E. Marino, A. Mozolevska, N. Palliwoda, P. Panizzo, O. Polishchuk, V. Sauer, S. Sauermilch, C. Storskog, S. Verdiani
Cover: Méndez Blake, Jorge, Amerika, 2019.
The editors would like to thank Jorge Méndez Blake for granting the permission to publish one of his works as the cover of AM #25
Hyperfiction in Spanisch and its reader : narratological investigations of a difficult relationship
No full textHyperfiction ist eine Schreibweise der Digitalen Literatur. Es handelt sich um fiktionale literarische Erzähltexte, deren Produktion und Rezeption über den Computer erfolgt. Neben der dominierenden Schrift beinhaltet die Hyperfiction meist weitere Medien des Ausdrucks (Bild, Ton, Film, Animation). Wesentlich ist, dass Werke der Hyperfiction stets hypertextuell strukturiert sind. Das heißt, dass der Leser mittels Mausklick regelmäßig Entscheidungen bezüglich des zu beschreitenden Lektürepfades trifft.
Die spanischsprachige Hyperfiction findet in den Standardwerken zur Literaturgeschichte Spaniens und Hispanoamerikas bislang keine Erwähnung. Um aufzuzeigen, wie es um die Produktion von spanischsprachiger Hyperfiction bestellt ist, geht dieser Arbeit eine Recherche in unterschiedlichen Verzeichnissen der Digitalen Literatur voraus.
In ihren Anfängen in den späten 1980er Jahren wurde die Hyperfiction als die Realisierung der Grundidee des Poststrukturalismus und der Rezeptionsästhetik begriffen, der zufolge der Leser gegenüber dem Text und dem Autor an Autorität und Macht im Bezug auf die Sinnbildung gewinnt. Diese Auffassung gilt mittlerweile als widerlegt. Die Hyperfiction wird seit den 2000er Jahren eher im Lichte ihrer Probleme im Bezug auf die Kohärenzbildung und Immersionserfahrung betrachtet. Bezüglich ihrer Rezeption ist zu konstatieren, dass sie sich nicht bei einer breiteren Leserschaft durchgesetzt hat. Produktionsseitig lässt sich beobachten, dass das Aufkommen neuer Hyperfictions ab den späten 2000-Nuller-Jahren abnimmt. Um diese rückläufige Entwicklung besser zu verstehen, widmet sich die vorliegende Arbeit der folgenden Fragestellung: Welches sind die Spezifika der Lektüre von Hyperfiction im Bezug auf Geschichte und Diskurs, im Bezug auf die Kohärenzbildung und die Ästhetische
hier als wichtige Faktoren für ein zufriedenstellendes Lektüreerleben verstanden. Warum hat sich die Hyperfiction nicht bei der breiten Leserschaft etabliert?
Die Analyse von Hyperfiction stellt die Literaturwissenschaft aufgrund ihrer spezifischen Medialität vor neue Herausforderungen. Aus diesem Grunde wurde eigens für die vorliegende Arbeit ein Begriffsinstrumentarium zusammengetragen, anhand dessen Werke der Hyperfiction beschrieben und analysiert werden können.
In der vorliegenden Arbeit werden vier spanischsprachige Hyperfictions untersucht. Ziel des Korpus ist es, ein möglichst breites, repräsentatives Spektrum der Hyperfiction abzubilden. Es handelt sich um Gabriella Infinita (2002) von Jaime Alejandro Rodríguez, Sinferidad (2003) von Benjamín Escalonilla Godayol, Condiciones Extremas (2005) von Juan B. Gutiérrez und Una contemporánea tragedia de Caldesa (2007) von Félix Remírez. In der Form eines Fazits bleiben folgende Ergebnisse festzuhalten: Alle Werke setzen auf eine starke Lenkung der Entscheidungsoptionen des Lesers. Dies geschieht in einigen Werken objektiv durch die Software. In den anderen Werken wird diese Lenkung durch die Suggestion einer Lektürereihenfolge erreicht. Eine weitere Einschränkung der Entscheidungsoptionen besteht darin, dass die individuellen Lektürepfade sich lediglich im Hinblick auf den Diskurs (das WIE der Erzählung) und nicht im Bezug auf die Geschichte (das WAS der Erzählung) unterscheiden. Diese Beschränkungen führen dazu, dass die Kohärenzbildung in den meisten Momenten gewährleistet ist. Ein hohes Maß an intermedialen Bezügen und die Aufgabe, in der multidimensionalen Struktur zu navigieren, wirken jedoch distanzauslösend und somit der Ästhetischen Illusion entgegen.
Die hier untersuchten Hyperfictions verzichten darauf, ein für das digitale Medium spezifisches Verfahren einzusetzen, das die Immersion bzw. die Ästhetische Illusion fördern könnte. Somit schöpft die spanischsprachige Hyperfiction die Möglichkeiten des Digitalen nicht in einer Weise aus, die es ihr erlauben würde, über die Möglichkeiten des Gedruckten hinauszuweisen. Dies mag der Grund dafür sein, dass sich das Interesse von Forschern, Autoren und Rezipienten von Hyperfiction zum Teil in Richtung Games und Game Studies verschoben hat – weg von der Schrift, hin zum bewegten Bild und Spiel.The term denominates texts of literary fiction that are produced and read on the computer. While literary writing is the dominating medium of expression in hyperfiction, the majority of hyperfictions makes also use of other media such as image, audio, video and animation. One of the defining features of hyperfiction is that it has a hypertextual structure: the reader constantly makes decisions about the path on which she wants to traverse the text.
Hyperfiction is not yet mentioned in the standard works on literary history of Spain and/or Hispanic America. In order to uncover the up-to-date production of hyperfiction in Spanish language, this work begins with a large research in different registers of digital literature. From its very beginnings in the late 1980s on, hyperfiction was seen as the realization of one of the basic ideas of poststructuralism and reader-response-theory: the reader is empowered in the sense-making of a literary work and in this respect outmatches the author. But the point of view that hyperfiction represents an empowerment of the reader has been proven wrong at least from the early 2000s on. Critics now focus on the problems hyperfiction poses to narrative coherence and the sense of immersion. Regarding the reception of hyperfiction it shows that this new way of writing did not manage to reach a broader audience. Regarding the production of hyperfiction it becomes obvious that it ceases from the late 2000s on. In order to understand this declining development, this work raises the following questions: What are the specifics of reading hyperfiction regarding the narratological concepts of story and discourse, coherence and aesthetical illusion? The latter are understood as important factors for an enjoyable reading experience. Starting from these aspects the question is: why has hyperfiction not been able to reach a broader audience?
The specific mediality of hyperfiction poses a challenge to literary criticism in general and to the analysis of works of hyperfiction in
particular. That is why this thesis provides an inventory of terms by which any work of hyperfiction can be described and analyzed. In this thesis, four works of hyperfiction are subject to investigation. The aim of the corpus is to present a broad and representative spectrum of hyperfiction.
The works investigated in this thesis are: Gabriella Infinita (2002) by Jaime Alejandro Rodríguez, Sinferidad (2003) by Benjamín Escalonilla Godayol, Condiciones Extremas (2005) by Juan B. Gutiérrez, and Una contemporánea tragedia de Caldesa (2007) by Félix Remírez. The main results can be summarized as follows: All of the analyzed works impose a distinct limitation of the scope of decisions to be made by the reader traversing the text. In some of the works this is obtained objectively by technical means within the software. Other works suggest the text fragments to be read in a certain order, which represents a subjective limitation of the scope of decision. Also the fact that the reader´s decisions only affect the discourse and not the story of the narration are seen as such a limitation. In sum these limitations lead to the pleasurable fact that narrative coherence is guaranteed in the majority of cases. Regarding aesthetic illusion however, the high degree of intermedial references often diminishes the sensation of immersion. Pointing into the same direction, the task of navigation within a multidimensional structure enforces the sensation of distance in the sense of an awareness of the fictionality and representationality of the narrated world. Together the weak sensation of immersion and the strong sense of distance degrade the aesthetic illusion. In conclusion, the hyperfictions analyzed in this thesis lack the application of techniques specific to the digital medium that would foster the sense of immersion and aesthetic illusion and that would add anything completely new to those in use in printed fiction. This might be the reason for the fact that the interest of some of the researchers, authors, and readers originally
concerned about hyperfiction has shifted towards computer games and game studies: away from literary writing, towards narrative forms that incorporate more animated pictures, sounds and game
Methods for the appraisal of intensity in the displacement of trees within a stand in respect to their height and thickness
No full textTrials of evaluation of genetic and silvicultural value of silver fir (Abies alba Mill.) from Sudetes and Polish Carpathians on the base of results of provenance studies
No full text- …
