Small bowel cancer (SBC) is the malignancy with the highest standardized incidence ratio in Lynch syndrome (LS) patients. Of all SBCs, about 50% are duodenal cancers (DCs), therefore being accessible by esophago-gastro-duodenoscopy (EGD) for surveillance. We asked whether early detection of DC is possible for LS patients undergoing surveillance by EGD and if surveillance should be limited to specific subgroups. Data for LS patients with DC were retrieved from the registry of the German Consortium for Familial Intestinal Cancer. Patients undergoing active surveillance by EGDs (surveillance group) were compared to those who did not (nonsurveillance group) regarding tumor stage at diagnosis. Union for International Cancer Control stages I-IIA were defined as early stage disease and IIB-IV as advanced stage disease. Statistical analysis was performed using Fisher's exact test. Among 2015 patients with pathogenic variants in any mismatch-repair-gene, 47 patients with 49 DCs were identified. In 10% of cases, patients were under 35 years at diagnosis; family and personal tumor history did not correlate with DC diagnosis. Pathogenic germline variants in MSH6, PMS2 or EPCAM were present in 10% of patients. Statistical analysis could be performed on 13 DC patients in the surveillance group and 14 in the nonsurveillance group. Early detection was possible for 71% of patients in the surveillance group and 29% of patients in the nonsurveillance group (P = .021). Early detection of DC by EGD in LS patients is feasible regardless of family history, mutational status and should start no later than 25 years of age.

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I denna uppsats presenteras en jämförande studie av tre gators rumsliga begriplighet (intelligibility). Studieobjekten är Trollebergsvägen, Karl XI-gatan och Öresundsvägen i Lund. Öresundsvägen är föremål för exploatering under kommande år. Här kommer det att skapas en mängd olika byggnader där olika grupper i samhället kan bosätta sig och leva. En rad nya företag kommer att etablera sig. I uppsatsen används det kvantitativa verktyget Space syntax tillsammans med kvalitativa fallstudier för att mäta den rumsliga orienteringsförmågan på dessa gator. Bill Hillier har funnit ett samband mellan integration och connectivity som han menar påverkar begripligheten av en viss rumslig struktur för människan. Han har kallat korrelationen för intelligibility- rumslig begriplighet. I uppsatsen jämförs Space syntax analyser med fallstudier för att utröna om Hilliers teori stämmer och för att därmed försöka bidra till utvecklingen av verktyg för att mäta rumslig navigering i urbana miljöer. Resultat är att använda båda analysmetoderna tillsammans vid mätningen av intelligibility. / In this paper we introduce a comparative study on three streets’ intelligibility. The study objects are Trollebergsvägen, Karl XI gata and Öresundsvägen in Lund, Sweden. Öresundsvägen is under negotiation for development in coming years. Here, there will be a variety of building structures allowing mixed social groups to live side by side and also businesses established close to the inhabitants. We have used the quantitative method Space syntax and the qualitative data of case studies to measure the intelligibility of these streets. Since Bill Hillier has found a correlation between integration and connectivity to affect the intelligibility that local and global streets produce, we will compare Space syntax analysis with the qualitative case studies in order to investigate and evaluate Hillier’s claims. In doing so we do two Space syntax analysis of integration and connectivity of the city with tables showing values for the streets. Results of this study shows that these two types of analysis would give a better understanding of intelligibility when are used.

Plusieurs films américains des années 2000 (Mulholland Drive et INLAND EMPIRE de David Lynch, The Virgin Suicides de Sofia Coppola, Memento de Christopher Nolan, The Pledge de Sean Penn, Broken Flowers de Jim Jarmusch et Zodiac de David Fincher) opèrent une remise en question de la fonction, du fonctionnement et de la représentation des indices sur lesquels s’appuient tant la littérature que le cinéma policiers. Ces films, qui reprennent certains codes du genre sans être tous à proprement parler des « films policiers », ont pour point commun de mettre en scène une enquête qui n’aboutit pas et qui se retourne contre l’enquêteur jusqu’à ébranler son identité. Ils font ainsi écho aux récits de détection dits métaphysiques (The Crying of Lot 49 de Thomas Pynchon, City of Glass de Paul Auster...) : l’indice, loin de permettre la clôture du récit, devient le moyen de son ouverture. À sa juste interprétation succède le foisonnement des lectures et des histoires possibles. Autrefois transparent, il se fait opaque ; de fluide, sa circulation devient accidentée – ce à quoi correspondent de nouvelles manières de le filmer. Les codes du genre policier visant à marquer l’indice tout en favorisant sa lisibilité et l’identification avec l’enquêteur (insert en gros plan, raccord-regard, faible profondeur de champ…) sont détournés selon diverses stratégies : inversion, exagération, etc. Celles-ci ont pour effet de déjouer les attentes des spectateurs et de les rendre inquiets en rétablissant l’incertitude fondamentale de la littérature policière, que le cinéma policier tend à minorer, tout en la mettant au service de projets esthétiques par ailleurs très différents les uns des autres. / A few American films released between 2000 and 2007 (David Lynch’s Mulholland Drive and INLAND EMPIRE, Sofia Coppola’s The Virgin Suicides, Christopher Nolan’s Memento, Sean Penn’s The Pledge, Jim Jarmusch’s Broken Flowers and David Fincher’s Zodiac) question the function, inner workings and representation of the clues on which detective fiction and film rely. These movies, which take up certain tropes of the genre without necessarily being detective films per se, all revolve around an investigation which is left incomplete and eventually turns against the investigator, to the point of shattering his or her sense of identity. They thus follow in the footsteps of metaphysical detective fiction (novels such as Thomas Pynchon’s The Crying of Lot 49 and Paul Auster’s City of Glass), in that the clue, instead of bringing about the closure of the narrative, becomes the instrument of its open-endedness. Its one correct interpretation is replaced by a proliferation of possible readings and stories. Once transparent, it turns opaque; once fluid, its circulation becomes problematic – which leads to new ways of filming it. The codes that detective films use to point out the clue, increase its legibility and foster identification with the investigator (close-up insert, eyeline match, shallow focus…) are subverted through a number of strategies such as inversion and exaggeration. These aim to deceive the spectator’s expectations and to unsettle him or her by reinstating the fundamental uncertainty of detective fiction, which detective films normally tend to repress, and which is here incorporated into aesthetic projects that otherwise differ widely.

Cette thèse est une étude approfondie du rapport de William S. Burroughs au cinéma. William S. Burroughs, en collaboration avec Antony Balch, a produit entre 1961 et 1972 des courts-métrages expérimentaux aux formes de montage et de figuration radicales. Ces films, largement ignorés, constituent un pan essentiel du cinéma expérimental. Leur étude met en lumière l'évolution d'une pensée politico-esthétique de l'image chez Burroughs, une pensée voisine de celle de Guy Debord et qui influencera celle de Gilles Deleuze .Burroughs a également travaillé en tant qu'acteur : l'analyse de ses apparitions est ici pensée en fonction de leur rapport à l’œuvre écrite de Burroughs et à son versant biographique, l'écrivain déconstruisant les personnages qu'il joue de la même manière qu'il déconstruisait le cinéma. Un ensemble de films, répondant plus ou moins fidèlement à l’appellation d'adaptations, constituent un aspect important de notre corpus. Ces œuvres, qu'elles travaillent les écrits dans un rapport fondé sur la reproduction, le décalage, ou l'éclatement, produisent des formes inédites. Cette étude est complétée par un retour sur l'influence de Burroughs sur trois auteurs majeurs du cinéma nord-américain contemporain, Cronenberg, Van Sant et Lynch. Tous trois réinvestissent l’œuvre et la pensée de Burroughs dans le cadre de leur propre production, que ce retour se concentre sur l'apparition de la voix, le lien entre signature visuelle et présence ou la fragmentation de la narration classique. En mettant en relation expérimentations, présences et contaminations de l'écrivain au cinéma, ce travail vise la réhabilitation de ce versant de l’œuvre de William S. Burroughs. / This work is an exhaustive study of William S. Burroughs' interest in cinema. Burroughs, in collaboration with Antony Balch, produced between 1961 and 1972 a series of experimental short films with radical editing and visual styles. These widely ignored films are an essential part of experimental cinema. Their study highlights the evolution of the author's political and aesthetic vision, close to those of Guy Debord or Gilles Deleuze. Burroughs also worked as an actor. The analysis of his cinematographic apparitions is linked to their relation to Burroughs' written work and its biographical aspects: the writer deconstructs the characters he plays in the same way as he deconstructs the mise-en-scène.A set of films, which can loosely be said to be adaptations, are another important part of the corpus of this study. These works, in a relation to the written word based on reproduction, shift or blow-out, produce original cinematographic images.This study is completed with a flash-forward to Burroughs' influence on three important north-american filmmakers: David Cronenberg, Gus Van Sant and David Lynch. These three authors reinvest Burroughs' work within the framework of their own production, focusing on the apparition of the voice, the link between visual signature and the notion of presence or the shattering of a conventional narrative.Linking experimentations, presences and contaminations of the writer in the cinematographic art, this thesis aims to rehabilitate this part of Burroughs' work.

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This thesis investigates cinema’s attempts to engage in a dialogue with the trace of the physical body. My concern is with the on-screen presentation of the body rather than its treatment as a representation of gender, sexuality, race, age, or class. I examine specifically The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996), Attenberg (Tsangari, 2010), Taxidermia (Pálfi, 2006), and Sokurov’s family trilogy (Mother and Son, 1997; Father and Son, 2003; and Alexandra, 2007). The recurring tropes in these seven films include references to the medical gaze (both objective and objectifying) and haptic visuality which privileges sensual, close engagement with the image of the material object. I consider the medical and the haptic as metaphors for depictions of the body in cinema. To develop my analysis, I draw on the works of Michel Foucault, Laura U. Marks and Vivian Sobchack amongst others. I conclude that the discussed films, preoccupied with images of corporeal forms, criticise cinema’s conventional treatment of the body as simply a vessel for a goal-driven character and portray bodies which appear to consciousness in their own right.