50,249 research outputs found
Methods to assess gastric motility and sensation
No full textPeter Thelin Schmidt, Hasse Abrahamsson, Anders Dolk, Trygve Hausken, Pontus Karling, Greger Lindberg, Henry Nyhlin, Bodil Ohlsson, Magnus Simrèn, Kristina Sjölund, Per-Olof Stotzer and Hans Törnblom
Acetate<em>,</em> naturally
No full textThe Beatles author, Hans Olof Gottfridsson, reveals a newly-unearthed version of Why, a record subsequently cut by the band and Tony Sheridan.</p
Stylistic analysis and discussion on stylistics : A stylistic examination of Olof Lagercrantz and a discussion on the worth of stylistics
No full textThis essay aims to examine two texts, one autobiography and one essay, by Swedish author Olof Lagercrantz, through the means of stylistical analysis and to investigate the worth of stylistics in regards of trying to capture the style of an author. The main questions are: Which are the distinguishing stylistic features of the two texts? and Is it possible to capture the literary style of Olof Lagercrantz through the methods of stylistic analysis? In aid of trying to answer these questions the methods of Per Lagerholm and Peter Cassirer is being applied. The results points to the autobiographical text being economical in language, dramatic, poetic and personal; the essay being intimate, formal, personal and creating participation. The methods of stylistical analysis is criticized for being a insufficient tool in the analysis, but its benefits are also pointed out
Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof
No full textJohan Klingborg, Department of Culture and Aesthetics, Stockholm University The Author at Work: The Projection Room as Heterotopia in Eyvind Johnson’s The Novel about Olof (Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof) The sociological understanding of Swedish proletarian literature usually goes like this: in order to become a working class author the ‘proletarian’ writer paradoxically needs to abandon labor. While Eyvind Johnson’s four-part autobiographical Künstlerroman The Novel about Olof (1934–37) at first glance appears to follow that trajectory, this article shows how a particular line of work—namely, the work as a projectionist—in fact plays a fundamental role in the protagonist’s development towards writerly consciousness. The article takes as its point of departure the pivotal closing sequence of the third part, in which Olof, employed as a projectionist, starts to read an edition of the Odyssey during the screening of a film. Through a media-archaeological analysis of that scene, the article argues that Olof is reading in the projection room because historically it has functioned precisely as a space for reading. Not only was the projection room secluded and out of reach from the mechanisms of perception control in the auditorium; it also granted a livelihood without claiming all of the worker’s attention. In the words of Michel Foucault, the projection room can thus be regarded as a heterotopia—i.e. a space that simultaneously stands in relation to, and inverts, the power dynamics of all other spaces—both with regard to the cinema building and to capitalist society at large. The article shows how Olof ’s willingness and ability to read is indeed connected to his access to this heterotopian space for reading. Moreover, it argues that Olof is reading the Odyssey specifically because the Homeric epic is analogous to the tasks of the projectionist. The repetitive labor of the projectionist makes them a Penelope figure: the former is repeatedly winding and rewinding, while the latter is continually weaving and unweaving
Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof
No full textJohan Klingborg, Department of Culture and Aesthetics, Stockholm University The Author at Work: The Projection Room as Heterotopia in Eyvind Johnson’s The Novel about Olof (Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof) The sociological understanding of Swedish proletarian literature usually goes like this: in order to become a working class author the ‘proletarian’ writer paradoxically needs to abandon labor. While Eyvind Johnson’s four-part autobiographical Künstlerroman The Novel about Olof (1934–37) at first glance appears to follow that trajectory, this article shows how a particular line of work—namely, the work as a projectionist—in fact plays a fundamental role in the protagonist’s development towards writerly consciousness. The article takes as its point of departure the pivotal closing sequence of the third part, in which Olof, employed as a projectionist, starts to read an edition of the Odyssey during the screening of a film. Through a media-archaeological analysis of that scene, the article argues that Olof is reading in the projection room because historically it has functioned precisely as a space for reading. Not only was the projection room secluded and out of reach from the mechanisms of perception control in the auditorium; it also granted a livelihood without claiming all of the worker’s attention. In the words of Michel Foucault, the projection room can thus be regarded as a heterotopia—i.e. a space that simultaneously stands in relation to, and inverts, the power dynamics of all other spaces—both with regard to the cinema building and to capitalist society at large. The article shows how Olof ’s willingness and ability to read is indeed connected to his access to this heterotopian space for reading. Moreover, it argues that Olof is reading the Odyssey specifically because the Homeric epic is analogous to the tasks of the projectionist. The repetitive labor of the projectionist makes them a Penelope figure: the former is repeatedly winding and rewinding, while the latter is continually weaving and unweaving
Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons <em>Romanen om Olof</em> [Elektronisk resurs]
No full textJohan Klingborg, Department of Culture and Aesthetics, Stockholm University The Author at Work: The Projection Room as Heterotopia in Eyvind Johnson’s The Novel about Olof (Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof) The sociological understanding of Swedish proletarian literature usually goes like this: in order to become a working class author the ‘proletarian’ writer paradoxically needs to abandon labor. While Eyvind Johnson’s four-part autobiographical Künstlerroman The Novel about Olof (1934–37) at first glance appears to follow that trajectory, this article shows how a particular line of work—namely, the work as a projectionist—in fact plays a fundamental role in the protagonist’s development towards writerly consciousness. The article takes as its point of departure the pivotal closing sequence of the third part, in which Olof, employed as a projectionist, starts to read an edition of the Odyssey during the screening of a film. Through a media-archaeological analysis of that scene, the article argues that Olof is reading in the projection room because historically it has functioned precisely as a space for reading. Not only was the projection room secluded and out of reach from the mechanisms of perception control in the auditorium; it also granted a livelihood without claiming all of the worker’s attention. In the words of Michel Foucault, the projection room can thus be regarded as a heterotopia—i.e. a space that simultaneously stands in relation to, and inverts, the power dynamics of all other spaces—both with regard to the cinema building and to capitalist society at large. The article shows how Olof ’s willingness and ability to read is indeed connected to his access to this heterotopian space for reading. Moreover, it argues that Olof is reading the Odyssey specifically because the Homeric epic is analogous to the tasks of the projectionist. The repetitive labor of the projectionist makes them a Penelope figure: the former is repeatedly winding and rewinding, while the latter is continually weaving and unweaving.</p
Förnyade Strindberg versdramat? Versmått, poetisk ordföljd och ämnesbyten i Mäster Olof
No full textStaffan Hellberg, Department of Swedish Language and Multilingualism, Stockholm University Did Strindberg renew the verse drama? Metre, poetic word order, and changes of subject in Master Olof (Förnyade Strindberg versdramat? Versmått, poetisk ordföljd och ämnesbyten i Mäster Olof) Strindberg’s decision to write the third version of his drama Master Olof in verse may have been a concession to historical drama tradition. The question posed here is whether he renewed the Swedish verse drama. It is shown that, contrary to general belief, Strindberg was the first author in the 19th century to use doggerel verse. Concerning poetic word order, his renewal is less apparent, although he shows a special tendency to vary the degree and kind of poetic wordorder with the situation. Finally, the dialogue is examined with a conversation analysis method. It is shown that Strindberg’s characters, also in verse drama, change the subject of the conversation in a manner closer to observed natural talk than do those of his predecessors
Förnyade Strindberg versdramat? Versmått, poetisk ordföljd och ämnesbyten i <em>Mäster Olof</em> [Elektronisk resurs]
No full textStaffan Hellberg, Department of Swedish Language and Multilingualism, Stockholm UniversityDid Strindberg renew the verse drama? Metre, poetic word order, and changes of subject in Master Olof(Förnyade Strindberg versdramat? Versmått, poetisk ordföljd och ämnesbyten i Mäster Olof)Strindberg’s decision to write the third version of his drama Master Olof in verse may have been a concession to historical drama tradition. The question posed here is whether he renewed the Swedish verse drama. It is shown that, contrary to general belief, Strindberg was the first author in the 19th century to use doggerel verse. Concerning poetic word order, his renewal is less apparent, although he shows a special tendency to vary the degree and kind of poetic wordorder with the situation. Finally, the dialogue is examined with a conversation analysis method. It is shown that Strindberg’s characters, also in verse drama, change the subject of the conversation in a manner closer to observed natural talk than do those of his predecessors.</p
Endoscopic treatment of Crohn-related strictures with a self-expandable stent compared with balloon dilation: a prospective, randomised, controlled study
No full textObjective Fibrotic strictures in the gastrointestinal tract are frequent in Crohn’s disease. Endoscopic dilation is a standard treatment. However, recurrence is common after dilation and there are complications such as bleeding or perforation. Endoscopic treatment using self-expandable metal stents has shown diverging results. The aim of this study was to evaluate the outcome of endoscopic treatment with a self-expandable stent in ileocecal Crohn’s disease.Design/method Patients with Crohn’s disease and a symptomatic ileocecal stricture were eligible for prospective, consecutive inclusion in a single-centre setting. Patients were randomised to treatment with either 18 mm balloon dilatation (GroupDIL) or stenting (GroupSTENT) using a 20 mm diameter, partially covered Hanarostent NCN. Patients were followed for a minimum of 24 months postendoscopy. Outcomes were technical success, adverse events and clinical success (defined as no need for repeated interventions).Results Thirteen patients (GroupDIL n=6; GroupSTENT=7) were included with twelve patients (GroupDIL n=5; GroupSTENT=7) being eligible for complete follow-up. Technical success was achieved in all cases. Adverse events were border-line significantly more common in the GroupSTENT: 4/7 (57%) (pain: n=3; pain and rectal bleeding: n=1) compared with the GroupDIL: 0/5 (0%), p=0.08, which resulted in preterm termination of the study. The clinical success rate was GroupSTENT: 6/7 (86%) vs GroupDIL: 1/5 (20%), p=0.07.Conclusion Patients with strictures related to Crohn’s disease may benefit from treatment with self-expandable metal stents rather than dilatation. However, there seems to be an increased risk for patient pain after stenting, which has to be considered and handled.Trail registration number The study was registered at Clinical Trials (NCT04718493)
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