This thesis is an investigation of diagnostic staging and palliative radiation therapy (RT) for appendicular osteosarcoma (OSA) in dogs. Osteosarcoma is a common, highly metastatic primary bone tumour of dogs. The purpose of the first study was to assess the utility of whole body computed tomography (CT) in evaluation of metastasis in dogs with primary appendicular OSA. The objectives were to determine the utility of whole body CT as a staging tool for dogs with appendicular OSA, compare the lesion detection rate of bone scintigraphy, long bone survey radiography and whole body CT in dogs with appendicular OSA and determine the prevalence of CT-detected lung metastasis in dogs with appendicular OSA that have normal thoracic radiographs. This was a prospective cross-sectional observational study involving fifteen dogs. Test modalities were assessed against a construct reference standard for detection of bone metastasis and thoracic radiographs negative for metastatic lesions were compared against thoracic CT. Bone scintigraphy identified 5 bone lesions in 4 dogs with 2 false positive and 2 false negative results. No lesions were identified on survey radiographs or CT during blinded assessment. CT was useful for further characterizing lesions identified by bone scintigraphy. Thoracic CT identified both definitive and equivocal lesions not visible radiographically. Four dogs had equivocal ground glass pulmonary lesions on CT; 3 of these lesions progressed to radiographically discrete nodules. Overall, bone scintigraphy was the only modality that identified metastatic bone lesions. Whole body CT did not appear to be useful as alternative to bone scintigraphy; however, it may have some utility as an adjunctive diagnostic modality. Thoracic CT identified pulmonary lesions that were not visible radiographically. Ground glass pulmonary lesions in dogs should be considered suspicious for metastasis and serially monitored. The purpose of the second study was to retrospectively assess factors affecting survival time in dogs undergoing palliative RT for appendicular OSA. Fifty dogs undergoing a palliative RT protocol for spontaneous primary appendicular bone tumours were included and divided into treatment groups based on treatments administered in addition to RT. Median survival times (MST) were longest for dogs receiving RT and chemotherapy (307 days; 95%CI= 279-831) and shortest in dogs receiving RT and pamidronate (69 days; 95%CI=47-112 days). The difference in MST between dogs who received pamidronate and those who did not in this population was statistically significant on univariate (p=0.039) and multivariate analysis (p=0.0015). The addition of chemotherapy into any protocol improved survival (p<0.001). Based on the findings in this study, chemotherapy should be recommended in addition to a palliative RT protocol to improve survival of dogs with primary appendicular bone tumours. When combined with RT +/- chemotherapy, pamidronate decreased MST. / Ontario Veterinary College Pet Trust Fund

The Tumour-Node-Metastasis (TNM) classification system of tumour stage does not always reflect the actual tumour mass present at diagnosis. Recent reports propose that volumetric analysis may allow improved stratification of disease recurrence and survival in head and neck squamous cell cancer (SCC). This study aims to assess the prognostic value of tumour volume on the outcome of patients with oral cavity and oropharyngeal SCC. / A retrospective review of 73 patients was completed. Tumours were outlined semi-automatically in digitized computed tomography scans, and volumes computed based on surface triangulations of three-dimensional reconstructions with novel software developed at McGill. / Results illustrate significant interstage variability within the current TNM model. Moreover, in oral cavity and oropharyngeal SCC, tumour volume as well as T-stage are significant and independent predictors of disease free survival and overall survival.

Uppsatsen fokuserar på Livrustkammarens utställning Maktspel (13/3 2014 - 5/1 2015) och handlar om historiebruk i populärkulturen. Med utgångspunkt i den svenska renässansen görs kopplingar till Englands elisabetanska tid samt den fiktiva kontinenten Westeros i HBO:s tv-serie Game of Thrones. Intentionen från museet är att besökaren ska ifrågasätta historiebrukets olika användningsområden och samtidigt belysa historiens dramatiska inslag. Jag har intresserat mig för de parallella maktspelen som sker i utställningsrummet utöver de berättelser som Livrustkammaren presenterar. Uppsatsen syftar till att lyfta fram museer och utställningars iscensättningskaraktär och min ambition är studera den interna ordningen i iscensättningen.   Uppsatsen är uppdelad i fyra tematiska huvudkapitel. Utställningens makt, Klädedräktens makt, Museets makt och sist men inte minst Uttryckets makt. Vardera kapitel behandlar makt ur olika perspektiv, både ur museets intentioner, museiverksamhetens utveckling, kläders kommunikativa egenskaper och uttrycksmedels inverkan på besökarna. Detta gör jag med hjälp av deltagande fältarbete och med föreställningsanalys. Modevetenskap och museivetenskap fördjupar förståelsen för den specifika utställningens komplement. Tillsammans kompletterar kapitlen varandra och skapar en fördjupad helhet av utställningen. Uppsatsen diskuterar hur ett museum och deras utställningsverksamhet är iscensatt kunskap. I mitt avslutande kapitel Livrustkammaren har bytt kostym kommenterar jag den utvecklingen som jag noterat på Livrustkammaren samt vilket symboliskt roll Maktspel har i den utvecklingen. De fyra rummen som utställningen består av symboliserar i mitt slutresultat hur makten inom museiväsendet succesivt förflyttats från museets kunskap till att inkludera besökarna och tolkningar. / The thesis focus on the exhibition Power Games presented at the Royal Armoury in Stockholm during 14th of March 2014 until 5th of January 2015. It involves the practice of history in popular culture. The exhibition incorporates stories of Swedish Renaissance with the English Elizabethan period along with Shekhar Kapur's films about Elizabeth I as well as the dramatic fictional continent of Westeros in HBO's TV series Game of Thrones. The intention of Power games is for the visitor to question the usage of history as well as emphasizing dramatic elements within history. I´ve taken an interest in the different power plays within the exhibition. The thesis discusses museums and exhibitions ways of staging knowledge. My intention is to investigate the elements of this staging.   The thesis is divided into four main thematic chapters: The power of exhibition, The power of costume, The power of museums and The power of expression. The aim with this thesis is to take a closer look at these specific contexts from a different angle and combine them by applying fashion studies, fieldwork and performance analysis. In my final chapter The changed costume of the Royal Armoury I comment on the accentuated development and the symbolic role that Power games have in this progress. The four rooms of the exhibition represent a new way of staging within museums. The power has gradually shifted from only involving objects and knowledge of the museum to including a narrative of visitors and different interpretations of history. The Royal Armoury has challenged old conventions of museum and started to question their power position.

Diss. (sammanfattning) Uppsala : Univ., 2002. / Härtill 5 uppsatser.

Diss. (sammanfattning) Stockholm : Karol. inst., 2003. / Härtill 5 uppsatser.

Diss. (sammanfattning) Stockholm : Karolinska institutet, 2005. / Härtill 4 uppsatser.

Thesis--University of Oklahoma. / Bibliography: leaf 87.

Thesis (M.A.)--University of South Florida, 2006. / Title from PDF of title page. Document formatted into pages; contains 71 pages. Includes bibliographical references.

Cette thèse se propose de mettre en relief des enjeux esthétiques et théoriques encore inaperçus du décor filmique, en prenant pour exemple le travail de Luchino Visconti, dont le cinéma fournit un cadre privilégié pour mener une telle recherche. Cinq grands films en costumes situés dans un XIXe siècle tardif, entre 1860 et 1911, constituent le corpus de l’étude, que vient compléter l’horizon réflexif des mises en scène de théâtre. On se donne pour tâche de relever et de faire ressortir les fonctions descriptive, historique et dramaturgique du décor. Le concept de scène ouvre ce décor XIXe à son extension la plus large : de l’espace au temps, du plus matériel au moins évidemment perceptible, du visuel au sonore. Le décor est cette scène, à la plasticité et la malléabilité remarquables, sur laquelle se met en place une poétique indissociable des perspectives temporelles. Comme scène, le décor est là où l’émergence du XIXe se noue, se joue et se structure selon trois niveaux : l’historicité, le drame, le temps. De la reconstitution historique à l’imagerie du siècle, des rhétoriques XIXe à la dramaturgie passionnelle, de la mise en scène du temps aux décors-temps en passant par les fictions et la corporéité du décor : voilà vers quelle poétique les scènes du décor acheminent le spectateur. Le distendant jusqu’à ses limites les plus élargies (le temps et ses mouvements, son anachronisme et sa fragmentation, ses fractures et sa musicalité), la réflexion aborde pour finir le décor XIXe comme cette forme cinématographique aspirant à une autre visibilité : telle une présence qui « inquiète le regard » (D. Païni). Cette approche du décor permet alors de repenser le travail de Visconti dans la modernité. / This doctoral thesis aims at highlighting aesthetic and theoretical aspects of film sets, throughout the work of Luchino Visconti. Five great costume films taking place in the late nineteenth century, between 1860 and 1911, complemented by the reflexive horizon of theatre stagings, constitute the corpus of the analysis. Descriptive, historical, and dramatic features of the film sets are identified and highlighted. The notion of scene enables us to consider the nineteenth century sets through a broad spatial and temporal scope; from the more substantial to the least clearly perceptible; from vision to audition. The film set is considered as a stage, with its characteristic plasticity and malleability, whereby the poetics is set up, indivisible from temporal perspectives. As a stage, the film set is the place where the emergence of the nineteenth century gets structured according to three levels: historicity, drama, and time. From the reconstruction of history to the imagery of the century, from the nineteenth century’s rhetoricity to the passionate drama, from the staging of time to temporal-settings, through film sets’ fictions and corporeality: this is the poetics towards which film sets’ scenes carry on the viewer. Distending the film set to its most extended limits (its time and movements, its anachronism and fragmentation, its fractures and musicality), towards the end, the reflection tackles the nineteenth century film sets as a cinematographic form aspiring to a new type of visibility — similar to a presence which "worries the sight" (D. Païni). This wide approach of the film set enables us to analyse Visconti’s work through the lens of modernity.

Introdução e objetivos: O adenocarcinoma de esôfago (AE) é um tumor agressivo, com o aumento da incidência em países ocidentais. Vários marcadores prognósticos têm sido propostos, incluindo o Receptor do Fator de Crescimento Epitelial (EGFR). O objetivo deste estudo foi avaliar se a expressão do EGFR está relacionada com o estadiamento tumoral e com a sobrevida. Métodos: Trata-se de uma coorte histórica na qual 70 pacientes consecutivos com AE atendidos entre 2000 a 2009 foram considerados elegíveis para o estudo. As peças cirúrgicas dos pacientes submetidos a esofagectomia transhiatal foram avaliadas para estabelecer a expressão do EGFR e analisadas em relação às variáveis dos pacientes. A sobrevida foi determinada de acordo com os registros nos prontuários médicos dos pacientes ou por contato telefônico com familiares. Resultados: Dos 70 pacientes, 37 (53%) preencheram os critérios para inclusão no estudo. A expressão do EGFR foi positiva em 16 pacientes (43%) e foi mais freqüente nos estágios tumorais mais avançados, TNM (I e II = 0% vs III = 47% vs IV = 100%, P <0,001). A sobrevida média em meses, foi significativamente menor no grupo de pacientes com expressão do EGFR (10,5 vs 21,7, P = 0,001) em comparação com pacientes sem expressão do EGFR. Houve maior expressão do EGFR em neoplasias com pobre diferenciação tumoral em relação aos bem diferenciados e moderadamente diferenciados. Conclusão: Em pacientes com adenocarcinoma de esôfago tratados com esofagectomia, a expressão de EGFR está relacionada com maior estádio TNM e menor sobrevida. A expressão do EGFR pode ser assumida como um marcador de prognóstico para o adenocarcinoma de esôfago. / Background and aims: Esophageal adenocarcinoma (EA) is an aggressive tumor with increasing incidence in occidental countries. Several prognostic biomarkers have been proposed, including epidermal growth factor receptor (EGFR). The aim of this study was to assess whether EGFR expression predicts tumor staging and survival. Methods: In this historical cohort, 70 consecutive patients with EA managed between 2000 and 2009 were considered eligible for the study. Surgical specimens from those treated with esophagectomy were evaluated to establish EGFR expression and tumor differentiation. Survival was determined according to medical register or patient contact. Results: Among 70 patients, 37 (53%) underwent esophagectomy without pre-surgical chemotherapy and composed the study population. Of these, EGFR expression was found in 16 patients (43%). EGFR expression was more frequent as higher was TNM staging (I and II = 0% vs. III = 47% vs. IV = 100%; P < 0.001). Average survival in months was significantly shorter in the group of patients with EGFR expression (10.5 vs. 21.7; P = 0.001). Conclusions: In patients with esophageal adenocarcinoma treated with esophagectomy, EGFR expression was related with higher TNM staging and shorter survival. EGFR expression can be assumed as a prognostic marker for esophageal adenocarcinoma.