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Posterior Spinal Artery Aneurysm Presenting with Leukocytoclastic Vasculitis
Travis C. Hill,Paul P. Huang,Omar Tanweer,Cheddhi Thomas,John Engler,Maksim Shapiro,Tibor Becske 대한뇌혈관외과학회 2016 Journal of Cerebrovascular and Endovascular Neuros Vol.18 No.1
Rupture of isolated posterior spinal artery (PSA) aneurysms is a rare cause of subarachnoid hemorrhage (SAH) that presents unique diagnostic challenges owing to a nuanced clinical presentation. Here, we report on the diagnosis and management of the first known case of an isolated PSA aneurysm in the context of leukocytoclastic vasculitis. A 53-year-old male presented to an outside institution with acute bilateral lower extremity paralysis 9 days after admission for recurrent cellulitis. Early magnetic resonance imaging was read as negative and repeat imaging 15 days after presentation revealed SAH and a compressive spinal subdural hematoma. Angiography identified a PSA aneurysm at T9, as well as other areas suspicious for inflammatory or post-hemorrhagic reactive changes. The patient underwent a multilevel laminectomy for clot evacuation and aneurysm resection to prevent future hemorrhage and to establish a diagnosis. The postoperative course was complicated by medical issues and led to the diagnosis of leukocytoclastic vasculitis that may have predisposed the patient to aneurysm development. Literature review reveals greater mortality for cervical lesions than thoracolumbar lesions and that the presence of meningitic symptoms portents better functional outcome than symptoms of cord compression. The outcome obtained in this case is consistent with outcomes reported in the literature.
Narrating and Aestheticizing Liberation in Hurrah! for Freedom and My Home Village
Travis Workman 한국학중앙연구원 한국학중앙연구원 2015 THE REVIEW OF KOREAN STUDIES Vol.18 No.1
This article examines two films that have become canonical representations of national liberation in South Korea and North Korea: Hurrah! for Freedom (Jayu manse, Choe In-kyu, 1946) and My Home Village (Nae gohyang, Kang Hongsik, 1949). Taking the liberation period (1945-1948) as a postcolonial moment before the complete entrenchment of the Cold War system and its attendant conflicts and ideologies, it analyzes how the films look to the recent past of Japanese colonialism and how they prefigure the dominant national narratives and aesthetic ideologies in each Korean nation-state, particularly in relation to national liberation. In addition to examining how each film represents the colonial period, the article also relates the narratives and visual conventions of the films to colonial period filmmaking, as well as to Hollywood and Soviet cinemas. It is organized into two sections. The first section discusses the narrative forms of the two films and the second discusses their aesthetic ideologies through an attention to the dynamics of interior and exterior, depictions of landscape, and the effects of close-ups.
Stepping into the Newsreel: Melodrama and Mobilization in Colonial Korean Film
Travis Workman 고려대학교 민족문화연구원 2014 Cross-Currents Vol.- No.10
As part of a project on melodrama in Korean film, this article examines the ways that films from the late colonial period (1937–1945) blurred the traditional boundaries between newsreel documentary and fictional features in an attempt to suture the film spectator into the cinematic representation of what André Bazin called, in relation to the newsreel, “total history.” Drawing on theoretical discussions of sentimentality and melodrama, the article compares the earlier fictional film Sweet Dream (1936) to the wartime film Straits of Chosŏn (1943) in order to trace how melodrama was transformed through its incorporation into political propaganda. It discusses how narrative cinematic techniques such as point of view, shot/reverse shot, and crosscutting allowed Straits of Chosŏn to draw the viewer into spectacles of mobilization that were formerly represented through the more anonymous mass medium of the newsreel documentary. The remainder of the article touches on the films Volunteer (1941) and Spring of Korean Peninsula (1941), discussing how the interpretive excess enabled by melodrama remained visible after the hybridization of fictional film and newsreel, primarily through the disjuncture between the films’ melodrama narratives and their spectacles of mobilization. In conclusion, the article suggests that the gradual elimination of any narrative excess in 1940s films reflects an apprehension about the multiple codings, identifications, and interpretations enabled through the combination of melodrama narrative with political propaganda.
Hydrogel microrheology near the liquid-solid transition
Travis Larsen,Kelly Schultz,Eric M. Furst 한국유변학회 2008 Korea-Australia rheology journal Vol.20 No.3
Multiple particle tracking microrheology is used to characterize the viscoelastic properties of biomaterial and synthetic polymer gels near the liquid-solid transition. Probe particles are dispersed in the gel precursors, and their dynamics are measured as a function of the extent of reaction during gel formation. We interpret the dynamics using the generalized Stokes-Einstein relationship (GSER), using a form of the GSER that emphasizes the relationship between the probe particle mean-squared displacement and the material creep compliance. We show that long-standing concepts in gel bulk rheology are applicable to microrheological data, including time-cure superposition to identify the gel point and critical scaling exponents, and the power-law behavior of incipient network's viscoelastic response. These experiments provide valuable insight into the rheology, structure, and kinetics of gelling materials, and are especially powerful for studying the weak incipient networks of dilute gelators, as well as scarce materials, due to the small sample size requirements and rapid data acquisition.
The Art of Biblical Performance: Biblical Performance Criticism and the Old Testament Narratives
Travis West 대한성서공회 2020 성경원문연구 Vol.0 No.47
For centuries, the Bible’s essential identity as a book has been taken for granted as a self-evident truth by scholars and lay people alike. But should it be? Is the Bible a book? Well, it is, and it is not - it is much more than a book. For significant portions of its history, the narrative contents of the Bible were not primarily encountered in written form, but rather through embodied recitation by a performer or a group of performers, who incarnated the story before a live audience. Biblical performance criticism (BPC) is an emerging, interdisciplinary approach to interpreting the Bible that takes seriously both the Bible’s oral history and its vitality as the Word of God. It provides a process whereby scholars, pastors, and lay people alike can come to deepen their understanding of a biblical text through embodied performance. In this article, I argue that the cultural realities of ancient Israel combined with a reassessment of the biblical narratives from the perspective of BPC suggest that the art practiced by the biblical composers was not of an essentially literary character, but rather of a dramatic character, which came to expression in performance. The narrative texts contained in the Hebrew Bible are more akin to dramatic scripts than a purely literary form of writing. The ancient crafts of drama and performance are evident in the texts we receive. Embodied reenactments of the biblical dramas - through body and voice in space and time before a gathered audience - demonstrates the “living and active” character of the word(s) of God (Heb 4:12). The art of biblical performance is to show, rather than tell. Thus, I will argue that a fuller understanding of Israel’s performance tradition will lead to a greater appreciation of Israel’s dramatic and theological achievement. I will demonstrate this by applying BPC to the brief story of Moses striking the rock in the wilderness, found in Exodus 17:1-7. Embodied engagement with this drama through performance clarifies the conflict that drives the story; attends to the critical role played by dialogue, gestures, spacing, and tone of voice in shaping the theological affirmation of the story. Further, I will demonstrate how the bodies of actors responding to the stage directions embedded in the “script” reveal a surprising act of love on the part of God, which stands at the heart of the drama’s climax and resonates with the heart of Christian theology - a climax that will be missed if it is not seen.