Thesis (Ph. D.)--Universität zu Köln, 1971. / Includes bibliographical references (p. 181-189).

Thesis--Erlangen. / Vita. Bibliography: p. [5]

This is the first published edition of Suita Maryjna (1987), a nine-movement Marian suite intended for three-part treble chorus, string quartet and two flutes composed by the Polish neoclassicist composer Irena Pfeiffer (1912-1986). The work was most likely intended for performance during Pope John Paul II’s pilgrimage to the Wawel Cathedral in Cracow, Poland in June 1987. It is structured according to a Marian prayer service known as the Jasna Góra Appeal, first prayed in the Jasna Góra Sanctuary in Częstochowa, Poland when the nation gained its sovereignty in 1918. The appeal was popularized by Pope John Paul II, who prayed it across Poland during his pilgrimages. Following the 1987 pilgrimage, Pfeiffer sent a manuscript of Suita Maryjna to the Lira Ensemble, a professional ensemble in Chicago specializing in Polish music, song and dance. Pfeiffer played an important role in the Lira by serving as a long-distance artistic advisor and by providing co-founder and current artistic advisor Lucyna Migala with modern Polish compositions for nearly twenty-five years. Suita Maryjna became a cornerstone of the ensemble’s repertory and was performed frequently, including in a studio recording in 1996. This edition of Suita Maryjna is placed in the context of Pfeiffer’s career, with particular attention to her working relationship with Pope John Paul II and the Lira Ensemble. Moreover, it discusses how Suita Maryjna reflects archaism, one of several strands of Polish neoclassicism in which diverse styles from earlier historical periods are fused.

As a Christian, Emily Pfeiffer (1827-1890) saw women's fight for emancipation as a crusade that transcends the earthly state. Yet, although her poetry was well-received during her life-time, Pfeiffer remains obscure. In order to challenge values that may have helped to perpetuate Pfeiffer's non-canonical status, I examine Pfeiffer's poetry against a broader definition of religious practice and worship than was traditionally applied to Victorian women's poetry. Responding to a recent re-evaluation of the criteria for what constitutes nineteenth-century religious literature, I demonstrate that Pfeiffer's poetry occupies a unique position in the canon of Victorian women's religious poetry. To determine what made Pfeiffer such an original thinker, my research considers childhood experiences from which the psychological imprint nev~r faded. In order to compensate for losses and disappointments, Pfeiffer learned to channel her frustrations into her poetry early in life. A Central Anglican, Pfeiffer belonged to a declining strand of the Established Church during a period when other branches of Christianity were expanding.

Syndromic craniosynostosis is most commonly associated with mutations in Fibroblast Growth Factor Receptor genes (FGFR)-1, 2 and 3. Clinical and animal reports suggest a link between FGFR-associated craniosynostosis and defects in the gastrointestinal tract (GIT). Objective: to determine whether GIT malformations occur more frequently in the craniosynostosis population with a known FGFR mutation when compared to the general population. Methods: A retrospective chart review of patients diagnosed with Crouzon, Pfeiffer or Apert syndromes between 1990 and 2011 was performed at the Hospital for Sick Children in Toronto. Thirty-two charts meeting inclusion criteria were analyzed for any history of GIT abnormalities. Results: Three out of 32 patients had documented intestinal/bowel malrotations while 7 had gastroesophageal reflux disease. All patients had documented FGFR2 mutations, a finding in line with previous studies and published case reports. Conclusions: Results suggest an association between FGFR-associated craniosynostosis and GIT malformations.

Syndromic craniosynostosis is most commonly associated with mutations in Fibroblast Growth Factor Receptor genes (FGFR)-1, 2 and 3. Clinical and animal reports suggest a link between FGFR-associated craniosynostosis and defects in the gastrointestinal tract (GIT). Objective: to determine whether GIT malformations occur more frequently in the craniosynostosis population with a known FGFR mutation when compared to the general population. Methods: A retrospective chart review of patients diagnosed with Crouzon, Pfeiffer or Apert syndromes between 1990 and 2011 was performed at the Hospital for Sick Children in Toronto. Thirty-two charts meeting inclusion criteria were analyzed for any history of GIT abnormalities. Results: Three out of 32 patients had documented intestinal/bowel malrotations while 7 had gastroesophageal reflux disease. All patients had documented FGFR2 mutations, a finding in line with previous studies and published case reports. Conclusions: Results suggest an association between FGFR-associated craniosynostosis and GIT malformations.

The chromosomal translocation of t(14;18)(14q32;18q21) is a characteristic aberration of follicular lymphoma and Diffuse Large B cells lymphoma. By PCR, it was proved that the rearrangement of chromosomes 14 and 18 leads to an overexpression of BCL2, an anti-apoptotic protein, which is one of the factors responsible for the maturation of the diseases. The translocation involves the promoter region of IGH gene and the transcriptional unit of BCL2 gene. Previous studies carried out in Dr Tosi’s lab showed a looping out of the BCL2 gene from its chromosome territory in 15% of the nuclei analysed. This looping out could be possibly responsible for the transcriptional activity of the gene. A further relevant finding concerns the spatial distribution of the genes involved in the translocation in the interphase nuclei. In the Pfeiffer cell line, harbouring the t(14;18) rearrangement, the translocated BCL2 gene was positioned in the cell nuclei according to a bimodal distribution. One could speculate that the distribution in the periphery and in the centre of the nuclei could divide the Pfeiffer cell line in two different subpopulations, consequently from the transcriptional activity. These preliminary data set the ground for more experimental work to test whether genes associated with the nuclear interior were transcriptionally active as opposed to the genes positioned towards the nuclear periphery, transcriptionally inactive. The work here presented focuses on this investigation using RNA-DNA FISH (Fluorescence in situ hybridization). My work enabled the detection of IGH, BCL2 and t(14;18) genes along with their transcripts inside of the nuclei of Pfeiffer cell line. Contrary to what had been hinted by previous work, my results showed multiple nuclear positions of transcriptionally active IGH/BCL2 translocation. The result will need to be further supported by software analysis in order to define its specific nuclear position and to ensure the perfect localization of the genes inside each nucleus.

Because of its importance in the history of the verse novel and the history of women’s writing, Elizabeth Barrett Browning’s Aurora Leigh (1856) has overshadowed the works of other female verse novelists in Victorian studies scholarship. By focusing on non-canonical works by four understudied women poets writing in the late nineteenth century— Augusta Webster’s “Lota” (1867), Violet Fane’s Denzil Place: A Story in Verse (1875), Emily Pfeiffer’s The Rhyme of the Lady of the Rock, and How It Grew (1884), and Emily Hickey’s “Michael Villiers, Idealist” (1891)—this dissertation expands our understanding of both women’s poetry and the verse novel in the Victorian period. It demonstrates that the genre was taken up in multiple ways after Aurora Leigh by women poets who, like EBB, addressed urgent and controversial social and political issues—such as parliamentary enfranchisement, adultery, marital rape, political sovereignty and land use in the Scottish Highlands, as well as socialism and the Irish Question— through inventive and complex generic combinations. This dissertation does not outline a teleological development of genre but, rather, recovers works through case studies that offer microhistories of verse novels at particular historical moments in order to expand the canon and definition of the Victorian verse novel. / Graduate / 2020-04-25

The nineteenth century in Germany posed a repressive environment for-women as they were defined as inferior to men and forced into the subservient roles of housewives and mothers. This thesis examines the portrayal of femininity in three contemporary writers of the period, Louise Aston, Charlotte Birch-Pfeiffer and Louise von Francois. The first chapter endeavors to situate the writers in their social environment. It examines the mechanics that supported the patriarchal system, such as socializing women through education and categorizing them as inferior to justify and support their traditional roles. Chapters two, three, and four respectively deal with each author, presenting an introduction to their particular conditions and a brief summary of their lives. Following this, the individual tests are analyzed for their portrayal of femininity. These writers' visions of femininity differ greatly. Aston, whose career spanned the revolution of 1848, openly promotes liberal-humanist ideas and advocates the emancipation of women. Her heroines bear male an female traits and rise to positions of power and leadership. Birch-Pfeiffer's women are strong and independent. She frequently reverses the traditional gender roles. However, she upholds the moral code of her time, including the idea of the woman as exemplar of chastity and virtue . Francois idealizes the traditional role of women. However, she elevates that role by extolling motherhood and marital fidelity as supreme virtues. Despite these differences, there are similarities. All three writers offer an alternative picture of femininity despite this adherence, to a greater or lesser degree, to the traditional values of their time. In addition, they all criticize the patriarchal structures of society, revealing their discontent more or less openly. Finally, their portrayal of femininity was in each case based on their particular circumstances of the individual writers lives. Aston exploited the revolutionary times to present a strong claim for female emancipation; Birch- Pfeiffer, in need o f money, adapted strongly to the taste of her audience, finding in turn, interested recipients for her ideas; and Francois, a very private and proud person, chose to upgrade the women's role within the tradition, in attempt to avoid public attention. Within their circumstances, each one of the authors presented the best possible version of femininity as an alternative to traditional values.

The nineteenth century in Germany posed a repressive environment for-women as they were defined as inferior to men and forced into the subservient roles of housewives and mothers. This thesis examines the portrayal of femininity in three contemporary writers of the period, Louise Aston, Charlotte Birch-Pfeiffer and Louise von Francois. The first chapter endeavors to situate the writers in their social environment. It examines the mechanics that supported the patriarchal system, such as socializing women through education and categorizing them as inferior to justify and support their traditional roles. Chapters two, three, and four respectively deal with each author, presenting an introduction to their particular conditions and a brief summary of their lives. Following this, the individual tests are analyzed for their portrayal of femininity. These writers' visions of femininity differ greatly. Aston, whose career spanned the revolution of 1848, openly promotes liberal-humanist ideas and advocates the emancipation of women. Her heroines bear male an female traits and rise to positions of power and leadership. Birch-Pfeiffer's women are strong and independent. She frequently reverses the traditional gender roles. However, she upholds the moral code of her time, including the idea of the woman as exemplar of chastity and virtue . Francois idealizes the traditional role of women. However, she elevates that role by extolling motherhood and marital fidelity as supreme virtues. Despite these differences, there are similarities. All three writers offer an alternative picture of femininity despite this adherence, to a greater or lesser degree, to the traditional values of their time. In addition, they all criticize the patriarchal structures of society, revealing their discontent more or less openly. Finally, their portrayal of femininity was in each case based on their particular circumstances of the individual writers lives. Aston exploited the revolutionary times to present a strong claim for female emancipation; Birch- Pfeiffer, in need o f money, adapted strongly to the taste of her audience, finding in turn, interested recipients for her ideas; and Francois, a very private and proud person, chose to upgrade the women's role within the tradition, in attempt to avoid public attention. Within their circumstances, each one of the authors presented the best possible version of femininity as an alternative to traditional values. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate