Search Results
A tetoválás és a piercing „művészete” archaikus időkre nyúlik vissza. Manapság pedig, posztmodern társadalmunk sokszor tévhitekkel körbevett és negatív reakciókat kiváltó jelensége. Egyre több fiatal vállalkozik arra, hogy testét színesebbé, érdekesebbé tegye. Ez szorosan összefügg azzal, hogy az ember önmagáról alkotott képe, a saját testéhez, a körülötte lévő világhoz, kultúrához való viszonya átalakulóban van. Kutatásunk során félig strukturált interjú módszerrel két nagy kérdéscsoportot vizsgáltunk. Az első a testmódosításokkal, a tetoválásokkal és/vagy piercingekkel kapcsolatos kérdések körét, a második a jegyekkel kapcsolatos reakciókat, a társadalmi megítélés kérdését tartalmazza. A mintába 10 férfi és 10 nő került be. Az interjúalanyok többsége jól átgondoltan, és nem hirtelen felindulásból jutott el arra a pontra, hogy tetoválást, testékszert csináltasson magának. A motivációk nagyon változatos képet mutatnak, abban azonban megegyeznek, hogy mindenképpen egyfajta önkifejezést hordoznak az egyén számára. Az egyediség kifejezése szinte ugyanolyan erős, mint az önkifejezésé.
Abstract
Neutron activation analysis has been applied to analyse ear piercing studs manufactured with three different types of metallic materials and also in the analyses of cell culture media in which these studs were immersed. Results obtained in these analyses indicated the release of metal from the studs to the culture media. Zn and Fe were found, respectively, in the extracts of gold coated copper-zinc alloy and stainless steel. These findings were correlated with the results already obtained for studs surface analysis by scanning electron microscopy and for the cytotoxicity tests of culture extracts.
Olive fruit dehydration is always done locally in non-industrial ovens. This technology poses concern about the quality and safety of the end product. Most of the problems involved in this empirical technology may be solved by a proper control of process parameters. Olive fruits of fourteen Italian cultivars underwent hot air dehydration in mild conditions in a tangential airflow cabinet dryer. At the start, at regular intervals and at the end of the process, sampling was performed to calculate dehydration curves and quality loss. Pre-treatments such as blanching in hot brine, piercing of the skin and salting after blanching were applied. The drying kinetic is strongly affected by pre-treatments and olive characteristics: fruit size, flesh to pit ratio, dry matter. Results showed that mild drying temperature led to slow drying kinetics, even if pre-treatments reduced drying timeto a certain extent. Blanched olives showed, in general, the highest polyphenols content. The fastest drying was measured in the pierced olives, but the best taste was achieved for the salted product.
Antoszewski, B., Sitek, A., Fijalkowska, M., Kasielska, A., Kruk-Jeromin, J. (2010): Tattooing and body piercing: What motivates you to do it? International Journal of Social Psychiatry , 56 , 471
Accurate prediction of insect development and emergence is essential for effective pest management, but can be quite challenging. Pesticide application must be timed precisely to maximize effectiveness and minimize the number required. Temperature-dependent development of the cotton whitefly, Bemisia tabaci, B biotype was examined on two host plants (cotton and eggplant) at three temperatures (20 °C, 25 °C, and 35 °C). Developmental rate was faster on eggplant than cotton, however it did not alter for egg and pupal stages on both hosts, but for nymphal stage it did. The statistically estimated lower developmental threshold (T0) for the total development (egg — adult) of B. tabaci was 11.94 °C and 12.33 °C on cotton and eggplant, respectively. Based on lower threshold estimation, the average heat units (dd’s) required for total development on cotton and eggplant were 299.1 and 313.3, respectively. Field data obtained from both leaf samples and yellow sticky traps for each host plant during growing seasons 2012 and 2013 were linked to lab estimation of heat units. Daily heat units (i.e., 299.1 and 313.3 dd’s) were accumulatively counted to test their accuracy in matching the field peaks of the target pest as a predictive tool. On both host plants, our estimation for thermal units (degree-days) from lab estimation is adjusted that of field populations with deviation ranged from zero to four days either before or after the apex. However, there were some false estimations which did not intersect with the peaks of abundance. This may be because the overlapping generations sometimes creates false peaks. The accumulative counts of thermal units were more correlated to yellow sticky trap catches than leaf sample data. Accordingly, degree-days could be recommended to use as a predictive tool for Bemisia flight activity in the field.
Sinergasilus lieni Yin, 1949, a well-known and pathogenic parasitic copepod in China and Russia, has been detected in Hungarian carp farms for the first time. The parasite infected the third-year generation of silver carp (Hypophthalmichthys molitrix) and bighead (Aristichthys nobilis). The gills of the infected fish specimens showed severe pathological changes. At the attachment sites of female copepods clubbing and fusing of the gill filaments were observed and in some parts of the pale or whitish hemibranchia deep indentations were recorded in places where the tips of the damaged filaments had broken off. Silver carp and bighead were infected at a similar rate, having 8 to 27 copepods attached to the end of the clubbed filaments or the proliferated epithelium of 2 to 10 fused filaments. In histological sections the head part of the parasite was found in a deep cavity of the proliferated epithelium, piercing its antennae deep into the tissues. Only the end of the filaments showed changes. In this part the proliferated epithelium was infiltrated by eosinophilic granular cells. In the central and basal parts of the hemibranchia the original structure of the filaments was preserved with intact secondary lamellae.
Tal, M. G.: Correction of inverted nipple using piercing. Plast. Reconstr. Surg., 2003, 112 , 1178–1179. Tal M. G. Correction of inverted nipple using piercing
Hendricks, W. M.: Complications of ear piercing: treatment and prevention. Cutis, 1991, 48 , 386–394. Hendricks W. M. Complications of ear piercing: treatment and prevention
Súlyos septicus állapotot okozó Fournier-gangraena kezelésével szerzett tapasztalataink
Our experience in Fournier's gangrene with severe septic shock
2004 Fournier's gangrene after genital piercing Scand J Infect Dis 36 610 2 . 4. Z Fábos
Стихи о море в русской романтической лирике
Poems on the Sea in Russian Romantic Poetry
В статье предлагается несколько стихотворений русских поэтов на тему моря. Описательный аспект в них пропитан эмоциональными переживаниями авторов. При этом меняющийся вид моря, его богатство световыми и звучными оттенками и переливами нарисованы c высоким поэтическим мастерством, позволяющим ощущать определенный параллелизм между динамикой моря и изме-нениями в душевной жизни человека. Эти романтические стихотворения содержат явные элементы реалистического подхода к действительности, а вместе с тем и некоторые черты, свидетельствую-щие о склонности авторов к трансцендентальности.
Элегия Жуковского «Море» (1822) – прекрасный пример олицетворения: море рассматривается как мистическое существо, которое живет, дышит и исполнено тревожной мыслью. Реалистичное изображение моря содержит скрытую аллюзию на переменчивые настроения человеческой души.
В стихотворении Пушкина «Погасло дневное светило…» (1820) поэт вспоминает о своей поте-рянной бурной молодости. В его же стихах «К морю» (1824) море как символ абсолютной свободы напоминает судьбы двух великих мужей века: Наполеона и Байрона.
В стихотворении «Море и утес» (1848) Тютчев выражает свою веру в миссию России как защит-ника христианства. Помимо аллегорического смысла, мастерство изображения яростных бурь волн против «спокойного и уверенного в себе утеса» предлагает прекрасную параллель с известными морскими картинами Айвазовского. В его стихотворении «Как хорошо ты, о море ночное» (1865) непрерывное движение моря намекает на трансцендентальное. Последние строки этого стихотво-рения говорят о неутолимой скорби поэта, вызванной недавней смертью его возлюбленной. Его же стихи «Волна и дума» (1851) представляют эмблематический символ взгляда поэта на аналогию природы и человеческого духа: наши мысли – это то же непрерывное, тщетное и обманчивое явле-ние как бушующие и отступающие волны моря.
Бунин посвятил два стихотворения морю. В одном из них (1895) вид спокойного ночного моря вызывает у наблюдателя восхищенное предчувствие вечной красоты и неземной истины. В другом стихотворении (1897) описание бурного Северного моря напоминает унылое настроение поэта. Па-раллель между этим зрелищем и подавленным состоянием души поэта проявляется в уничижитель-ных семантических тонах эпитетов и предикатов.
В стихах Бальмонта «У моря ночью» (1903) вид ночного моря возбуждает у поэта отчаянное ви-дение нависающей смерти.
В своем коротком стихотворении (1884) Надсон сравнивает море с мощным органом в величе-ственном соборе, но вместе с тем оно приводит видение кого-то «безумно смеющегося и грозящего».
При этом цитированные романтические стихотворения содержат явные элементы реалистиче-ского подхода к действительности, хотя в то же время некоторые их черты свидетельствуют о склон-ности авторов к трансцендентальности.
The paper presents a selection of poems about the sea, written by Russian lyric poets in the 19th century. The descriptive aspect in the poems is imbued by the emotional experience and actual mood of the authors. At the same time, the changing sight of the sea, the abundance of its luminous tints and sounding modulations are shown with high poetic mastery suggesting a certain parallel between the dynamism of the sea and the alternating states of the human mind. Parts of the texts indicate the authors’ disposition to transcendence.
Zhukovsky’s elegy Море [The Sea] (1822) is a fine example of personification: the poet addresses the sea regarded as a mystical being that lives and breathes, filled with anxious thought. The realistic portrayal of the sea contains a hidden allusion to the changing moods of the human soul.
Pushkin’s poem Погасло дневное светило… [The Day Star is Gone] (1820) recalls reminiscences of his lost turbulent youth. In the poem К морю [To the Sea] (1824), the sea as the symbol of absolute freedom reminds of the fates of the two outstanding men of the century, Napoleon and Byron.
Tyutchev’s poem Море и утес [The Sea and the Cliff] (1848) pertains to the Western European revolutionary events of 1848. In the form of an allegory, the poet expresses his belief in the mission of Russia as the defender and stronghold of genuine Christianity. Apart from its allegorical sense, the mastery of depicting the furious storms of waves against the “calm and self-confident Cliff ” offers a fine parallel to the well-known maritime paintings of Ayvazovsky. The poem Как хорошо ты, о море ночное [How Fine is You, the Sea at Night] (1865) includes a hint at transcendence in the description of the continually moving sea. The last lines of this poem allude to the unappeasable grief of the poet caused by the recent death of his beloved. The poem Волна и дума [The Wave and the Thought] (1851) is an emblematic symbol of Tyutchev’s view on the parallelism of nature and the human mind: our thoughts are regarded as just the same incessant, idle, and deceptive phenomena as the storming and receding waves of the sea.
Bunin devoted two poems to the sea. One of them (1895) presents the sight of the tranquil nocturnal sea, arousing a delighted state of the observer, his presentiment of everlasting beauty and “unearthly truth”. The other poem (1897) describes the stormy Northern Sea with its piercing wind and heavy waves. The parallel between this sight and the depressed state of mind of the poet appears in the pejorative semantic tones of the epithets and predicates.
In Balmont’s poem У моря ночью [At the Sea by night] (1903), the sight of the sea by night stirs up in the poet a desperate vision of imminent death.
In his short poem (1884), Nadson compares the sea with a powerful organ in a majestic cathedral but at the same time a vision appears to him of “somebody insanely laughing and threatening”.
In the cited poems, the romantic (i.e. individual and emotional) attitude to the sea is integrated with superior skill in describing elements of reality, and reveals a certain inclination of the poets to transcendental experience.
