the GSR . Journal of Experimental Social Psychology , 7 , 623 – 626 .
Pazhoohi, F. (under review). Is veiling adaptive? Religious clothing and mate guarding. Pazhoohi, F., & Burriss, R. P. (in press). Hijab and ‘Hitchhiking’: A Field Study
Authors:Hagen Frickmann, Kerstin Köller, Irina Veil, Mirjam Weise, Alicja Ludyga, Norbert Georg Schwarz, Philipp Warnke and Andreas Podbielski
This study assesses the clinical relevance of vancomycin-susceptible enterococci in bacteremic patients and compares it with bacteremia due to Staphylococcus aureus and Escherichia coli.
During a 5-year-study interval, clinical and diagnostic features of patients with enterococcal bacteremia were compared to those of patients with E. coli or S. aureus bacteremia. Each patient was only counted once per hospital stay.
During the 5-year study interval, data from 267 patients with enterococcal bacteremia and from 661 patients with bacteremia due to E. coli or S. aureus were evaluated. In spite of a comparable risk of death, patients with enterococci more frequently needed catecholamines and invasive ventilation. Furthermore, enterococci were more frequently associated with a mixed bacterial flora in bloodstream infections. While fatal sepsis due to E. coli and S. aureus was associated with typical shock symptoms, this association was not confirmed for enterococci.
Although enterococcal bacteremia is associated with a risk of dying comparable to that with bacteremia due to E. coli and S. aureus, a lower pathogenic potential of enterococci in bloodstream has to be acknowledged. Enterococci in the bloodstream are more likely to be an epiphenomenon of impending death than its major cause.
Cette communication a examin le langage fministe chez Angle et Guelwaar dans Guelwaar, un roman de Sembene Ousmane. Il a t constat que chez l'un et l'autre le langage fministe a produit un effet paradoxal.
Donc le langage fministe d'Angle a fini par inciter les Guelwaar-yi la rvolte tout en condamnant les mauvaises pratiques
comme la polygamie qui freinent le progrs de la femme en socit et dmystifiant son mari et ses semblables. De plus, bien
que le langage fministe retrouv chez Guelwaar ait provoqu son agression et sa mort tragique, il a men la rvolte collective
- le refus collectif de dons caritatifs. En conclusion, Sembene Ousmane veut par la bouche de l'un et de l'autre veiller
une nouvelle prise de conscience, chez son peuple comme chez les Africains en gnral, du progrs bas sur le travail collectif
national et non sur la mendicit internationale que symbolise l'acceptation des dons caritatifs.
The advent of a more open society in Eastern and Central Europe has created space for political and cultural freedoms unthinkable under state socialism, particularly for the Roma (Gypsy) minority. The years since the change of regime have revealed apparently insatiable appetites for “Gypsiness” among consumers, impresarios, and recording companies, and artists from the East Bloc, many of them from extremely modest backgrounds, have filled niches in the business of sating those appetites. Yet for many Roma in the region, the political changes of twenty years ago have been disastrous: the end not only of full employment and a robust social safety net but also of the limitations on free speech and rigidly enforced state monopoly on violence that hid racial tensions under a veil of oppression. This paper addresses the contrast between the conditions of the Roma population at large with the successes of a handful of successful musicians. It also considers the ways some musicians in Hungary are working to improve both the conditions for Roma and the perception of Roma by non-Roma in and out of the region.
The “Fall” was inaugurated by Ren Wellek at the Bordeaux Congress of the AILC/ICLA in 1970. Postmodern theory of literature
was concerned first with radical criticism of conventional historical approaches for their lack of “literariness”. Then Hayden
White exposed the “literariness” of historiography. According to Writing Literary History: Selected Perspectives from Central Europe (eds. Darko Dolinar and Marko Juvan) national literary histories do not necessarily play their former emancipatory role and
eventually they may serve nationalist purposes. This is underlined by Hungarian experience as classics of Hungarian literary
history created a continuous past of ten centuries for “Hungarian literature” veiling substantial changes in the concepts
of “literature” and “Hungarian”. An answer to the problem might be the decomposition of “grands rcits” by “micro-histories”
and temporal “nodes”. Meanwhile recent comparative histories — Literary Cultures of Latin America (eds. Mario J. Valds and Djelal Kadir) and History of the Literary Cultures of East-Central Europe (eds. Marcel Cornis-Pope and John Neubauer) — seem to have an innate disposition to deconstruct “great stories” of nationalism
and regionalism. A forthcoming history of Hungarian literature (ed. Mihly Szegedy-Maszk) is based on nodal dates and problems
to make tractable confronting literary canons. Vilgirodalom (World Literature, ed. Jzsef Pl) published in 2005 surveys nearly forty literatures from the point of view of an East-Central
European variety of the “Western Canon”.
A klasszikus kori irodalmi latin nyelv és a római jogtudósok által kidolgozott jogi latin nyelv közti kölcsönhatás az irodalom és római jog határán elhelyezkedő, kevéssé kutatott terület, amely számos megválaszolatlan kérdést rejt magában. A jogi szakkifejezések felbukkanása a klasszikus kori irodalmi nyelvben a joghoz nem értők számára különös jelenségnek számított, amely a szélesebb olvasóközönség érdeklődését éppen homályossága és gyakori kétes értelmezhetősége révén keltette fel. Tanulmányomban a Petronius Satyriconjának XII–XV. caputjában szereplő jogi szakkifejezéseket vizsgálom a jogi tényállás tisztázásán keresztül, választ keresve azok tényleges funkciójára. A forumon játszódó jelenet elemzése során a római jog precizitása és a petroniusi humor közti ellentét feloldásának kulcsát az írói szándék feltárása jelenti, amely a jogi latin nyelvet sajátos módon illeszti művébe.
In the library of the Romanian Academy of Sciences in Kolozsvár there are four albums containing hundreds of caricatures, genre and milieu drawings, political portraits by János Petrichevich Horváth from the period between 1824 and 1864. The albums comprise several so-far little known and unpublished depictions of actors of the age such as István Széchenyi, Miklós Wesselényi, László Teleki, Sándor Teleki, Ferdinand V, Metternich or Emperor Francis Joseph, as well as the less widely known figures of the Transylvanian public scene and nobility, and officers of the imperial army. The set of over five hundred drawings, some only rough sketches, are not only intriguing in terms of iconography but at the same time have intrinsic artistic value as well. The main asset of the albums is the representation of the 19th century small world of ordinary people besides the pictures of representative personages. In addition to unusual themes the artist also challenges some taboos and depicts the abuses of power showing some infamous aspects of the life of the imperial forces, the aristocracy or the clergy.
By occupation, Transylvanian-born János Petrichevich Horváth was a high-ranking officer in the imperial army, and as such he was a committed defender of the feudal social structure and the monarchy, but as an amateur graphic artist he revealed quite a different side of his activities. Although there is no information on his regular artistic training, his works suggest a trained draughtsman mastering refined drawing techniques, with a sense of colour, careful spatial composition and exact anatomical rendering, correct perspective view and sensitive characterization.
The most remarkable works in the albums are the caricatures, which makes scholarship revise the beginnings and history of the genre in Hungary. Though the first half of the 19th century is regarded as a period of rudimentary attempts in Hungarian caricature history, the unfolding of the genre being dated to after the Compromise (1867), the albums of János Petrichevich Horváth render the Hungarian manifestations of the genre commensurable with the European crop of the genre at an earlier date. Of course, Hungarian art struggling with several problems of (self) definition, institutionalization, lack of infrastructure, etc. did not have a James Gillray (1756-1815) regarded as the “father of political caricature” or an Honoré Daumier (1808-1879) yet, but Petrichevich’s works do add several hues to the general tone of backwardness. As a conspicuous analogy, most caricatures of Gillray mock George III whose mental illness was caused by porphyria, Daumier’s most famous caricatures are of the pear-headed Louis Philippe I, and Petrichevich’s several caricature sketches depict the hydrocephalic Ferdinand V. Thus his works can be taken as the start of Hungarian political and cultural caricature whose artistic rendering and embarrassing sincerity project to us a different picture of the Reform Age clad so far in the veil of the golden age or of the customary image of the imperial forces as devilish impostors.
than a foot in height, carved into solid rock at the threshold of the temple sanctum. The stone used for the execution of this sculpture is red sandstone. There is a special design in the middle of the stem that could represent the remains of the veil