6 research outputs found
Develop a Book About Food Allergy Superpowers (Summer 2022)
No full textCasey Cockrell Stuart is the Assistant Director of Employer Services in the Career Center. She has been on staff at the University of Mississippi since July 11, 2007.https://egrove.olemiss.edu/staff_res/1008/thumbnail.jp
The television work of Alfred Hitchcock
No full textThe thesis uses close textual analysis to study and evaluate the television work of Alfred Hitchcock. The corpus consists of the twenty shows personally directed by Hitchcock, including his appearances before and after those shows. In response to most previous writing, which tends to compare the programmes with Hitchcock’s films (often unfairly) the thesis emphasises them as products of television. Programmes are evaluated on the basis of their perceived success as television- if they harness conditions related to television production and integrate them with narrative themes or to create meaning. Hitchcock is considered to be the major creative force in each programme.
Chapter One provides a variety of important contexts including a brief history of US television of the 1950s, key literature on Hitchcock and analyses of contemporaneous programmes not directed by Hitchcock. The textual analysis chapters (2-8) consider aesthetic or thematic programme aspects. Chapter Two studies the various roles played by Hitchcock’s appearances as series host. Chapter Three considers the impact of censorship on programmes frequently dealing with murder, violence and insanity. Chapter Four analyses Hitchcock’s implementation of varieties of voice-over narration, a common device in short dramatic forms. Chapter Five studies Hitchcock’s use of point-of-view shots, particularly in relation to their role in the delivery of the narrative twist. Chapter Six considers the key Hitchcock theme of detachment from the world. Chapter Seven looks at moments from the programmes which demonstrate how aesthetic is influenced by television production conditions.
Hitchcock created a number of television masterpieces. His achievements in television are in many ways comparable in quality and consistency to his theatrical films. Even when considered in the context of other 1950s US anthology dramas, the Hitchcock-directed programmes are superior on many levels. Elements of his film style were highly suited to television production. Many of his greatest achievements embrace and harness television production conditions in their presentation strategies to create an integration of style and meaning
Phi Beta Kappa Induction (2018)
No full textThis video, titled Phi Beta Kappa, Chapter ETA, Induction Ceremony, occurred on April 9, 2018. 00:02:05 President Connie Ledoux Book remarked, “When we have the privilege of attending an institution and learning like we do here at Elon. The joy we have out of establishing a Phi Beta Kappa chapter and then shepherding young people to that. That privilege we know comes with responsibility and I ask that you remember that in your work ahead as you continue to open doors for others throughout your life. 00:00:30 ... So Congratulations.” 00:00:52 A student introduced the keynote speaker, George Dyson. 00:02:49 Dyson is an American non-fiction author and historian of technology, whose publications broadly cover the evolution of technology in relation to the physical environment and the direction of society. He has written on a wide range of topics, including the history of computing, the development of algorithms and intelligence, communication systems, space exploration, and the design of water craft. 00:12:21 Kyle Altmann, Associate Professor of Physics, spoke at the podium. Altmann spoke of what it meant to be a PBK member in learning. 00:14:32 David McGraw, Associate Professor of Physics, spoke of the PBK roots and history. 00:20:21 Altmann led the PBK pledge with its new members. 00:21:43 Next, the new inductees received their PBK certificate and signed the roll (Fifty-three Elon University students were inducted into the Eta Chapter at Elon University during a dinner and ceremony). Inducted during the April 9 ceremony were the following students: Isabelle Josephine Agostini, Mary Alice Rose Allnutt, Olivia Grace Elizabeth Arges, Scott Patrick Armstrong, Christopher James Bertrand, Erica Leonette Braschi, Sydney Nicole Brown, Rachel Kate Cockrell, Jensen Marie Collins, Jacie Thiems Cooper, Caroline Denise Dean, Emily Grace DeMaio Newton, Rachel Aubrey DiCioccio, Evan Michael Elkin, Ilana Moriah Fitzpatrick, Emma Louise Flaherty, Samantha Ariel Friedman, Josselyn Joan Geyer, Carly Jordyn Goldstein, Megan Lea Graves, James Zachary Greenwell, Casey Nathaniel Hayes, Rebecca Alexandra Herring, Sarah Elizabeth Hofmann, Sarah Marie Holdren, Annaliese Annette Jaffe, Maura Elizabeth Jarman, Hope Juliet Kase, Grace Katherine Landsberg, Lyndsay Jaime Lee, Olivia Bishop Lucas, Alexandra Field McCorkle, Courtney Lynn McKelvey, Grace Ellen O’Hara, Alicia Michelle Paul, Victoria Whitney Phillips, Barang Phuk, Styrling Alexandra Rohr, Joanna Marie Salerno, Tyler Lawrence Seibring, Christina McLaren Smith, Molly Yumeng Spero, Mason Clifton, Stalph, Diani Marie Teixeira, Sophia Simi Tesluk, Maurice Blaine Tose II, Gabrielle Alyse Vance, Meara Leiah Waxman, Madeline Martha Wetterhall, Hallie Marie 00:33:12 The inductees rose from their tables. Altmann declared the new inductees as Phi Beta Kappa in the state of North Carolina to wear its key as a badge and participate in its meetings. He continued by welcoming the new inductees as members of the PBK chapter. 00:34:37 Steven House made celebratory remarks. 00:36:06 House stated, “The world needs your intelligent, your creativity, and your caring. … The evening is complete.
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
Whole-genome sequencing reveals host factors underlying critical COVID-19
No full textAltres ajuts: Department of Health and Social Care (DHSC); Illumina; LifeArc; Medical Research Council (MRC); UKRI; Sepsis Research (the Fiona Elizabeth Agnew Trust); the Intensive Care Society, Wellcome Trust Senior Research Fellowship (223164/Z/21/Z); BBSRC Institute Program Support Grant to the Roslin Institute (BBS/E/D/20002172, BBS/E/D/10002070, BBS/E/D/30002275); UKRI grants (MC_PC_20004, MC_PC_19025, MC_PC_1905, MRNO2995X/1); UK Research and Innovation (MC_PC_20029); the Wellcome PhD training fellowship for clinicians (204979/Z/16/Z); the Edinburgh Clinical Academic Track (ECAT) programme; the National Institute for Health Research, the Wellcome Trust; the MRC; Cancer Research UK; the DHSC; NHS England; the Smilow family; the National Center for Advancing Translational Sciences of the National Institutes of Health (CTSA award number UL1TR001878); the Perelman School of Medicine at the University of Pennsylvania; National Institute on Aging (NIA U01AG009740); the National Institute on Aging (RC2 AG036495, RC4 AG039029); the Common Fund of the Office of the Director of the National Institutes of Health; NCI; NHGRI; NHLBI; NIDA; NIMH; NINDS.Critical COVID-19 is caused by immune-mediated inflammatory lung injury. Host genetic variation influences the development of illness requiring critical care or hospitalization after infection with SARS-CoV-2. The GenOMICC (Genetics of Mortality in Critical Care) study enables the comparison of genomes from individuals who are critically ill with those of population controls to find underlying disease mechanisms. Here we use whole-genome sequencing in 7,491 critically ill individuals compared with 48,400 controls to discover and replicate 23 independent variants that significantly predispose to critical COVID-19. We identify 16 new independent associations, including variants within genes that are involved in interferon signalling (IL10RB and PLSCR1), leucocyte differentiation (BCL11A) and blood-type antigen secretor status (FUT2). Using transcriptome-wide association and colocalization to infer the effect of gene expression on disease severity, we find evidence that implicates multiple genes-including reduced expression of a membrane flippase (ATP11A), and increased expression of a mucin (MUC1)-in critical disease. Mendelian randomization provides evidence in support of causal roles for myeloid cell adhesion molecules (SELE, ICAM5 and CD209) and the coagulation factor F8, all of which are potentially druggable targets. Our results are broadly consistent with a multi-component model of COVID-19 pathophysiology, in which at least two distinct mechanisms can predispose to life-threatening disease: failure to control viral replication; or an enhanced tendency towards pulmonary inflammation and intravascular coagulation. We show that comparison between cases of critical illness and population controls is highly efficient for the detection of therapeutically relevant mechanisms of disease
Stratified analyses refine association between TLR7 rare variants and severe COVID-19
No full textSummary: Despite extensive global research into genetic predisposition for severe COVID-19, knowledge on the role of rare host genetic variants and their relation to other risk factors remains limited. Here, 52 genes with prior etiological evidence were sequenced in 1,772 severe COVID-19 cases and 5,347 population-based controls from Spain/Italy. Rare deleterious TLR7 variants were present in 2.4% of young (<60 years) cases with no reported clinical risk factors (n = 378), compared to 0.24% of controls (odds ratio [OR] = 12.3, p = 1.27 × 10−10). Incorporation of the results of either functional assays or protein modeling led to a pronounced increase in effect size (ORmax = 46.5, p = 1.74 × 10−15). Association signals for the X-chromosomal gene TLR7 were also detected in the female-only subgroup, suggesting the existence of additional mechanisms beyond X-linked recessive inheritance in males. Additionally, supporting evidence was generated for a contribution to severe COVID-19 of the previously implicated genes IFNAR2, IFIH1, and TBK1. Our results refine the genetic contribution of rare TLR7 variants to severe COVID-19 and strengthen evidence for the etiological relevance of genes in the interferon signaling pathway
