O presente trabalho tenta entender o roteiro do filme Contra a Parede (2004), de Fatih Akin, como texto dramático, buscando não apenas contribuir para os estudos do roteiro cinematográfico na área de Letras, mas também na área de Cinema. São enfoques distintos em suas especificidades, mas complementares. Entendido como texto dramático, o roteiro em questão apresenta características típicas da tragédia. Sendo assim, analisamos os personagens principais enquanto personagens dramáticos, o coro e a estrutura desse roteiro, a partir de cenas selecionadas. Interessa-nos em especial a questão da redenção dos protagonistas Cahit e Sibel. Para nos ajudar no substrato teórico, recorremos aos estudos de Aristóteles, Nietzsche, Bordwell, Jaspers e Romilly. / This paper aims to understand the script of the film Head-On (2004), by Fatih Akin, as a dramatic text, seeking not only to contribute to screenplay studies in the field of writing, but also in the field of cinema, for these are different yet complementary approaches. Understood as a dramatic text, the script in question presents features that are typical of the tragedy. Thus, we analyze the main characters as dramatic characters, the chorus and the structure of the script, from selected scenes. We are particularly interested in the matter of redemption of the main characters Cahit and Sibel. To help us in theoretical basis, we turn to the study of Aristotle, Nietzsche, Bordwell, Jaspers and Romilly.

O presente trabalho tenta entender o roteiro do filme Contra a Parede (2004), de Fatih Akin, como texto dramático, buscando não apenas contribuir para os estudos do roteiro cinematográfico na área de Letras, mas também na área de Cinema. São enfoques distintos em suas especificidades, mas complementares. Entendido como texto dramático, o roteiro em questão apresenta características típicas da tragédia. Sendo assim, analisamos os personagens principais enquanto personagens dramáticos, o coro e a estrutura desse roteiro, a partir de cenas selecionadas. Interessa-nos em especial a questão da redenção dos protagonistas Cahit e Sibel. Para nos ajudar no substrato teórico, recorremos aos estudos de Aristóteles, Nietzsche, Bordwell, Jaspers e Romilly. / This paper aims to understand the script of the film Head-On (2004), by Fatih Akin, as a dramatic text, seeking not only to contribute to screenplay studies in the field of writing, but also in the field of cinema, for these are different yet complementary approaches. Understood as a dramatic text, the script in question presents features that are typical of the tragedy. Thus, we analyze the main characters as dramatic characters, the chorus and the structure of the script, from selected scenes. We are particularly interested in the matter of redemption of the main characters Cahit and Sibel. To help us in theoretical basis, we turn to the study of Aristotle, Nietzsche, Bordwell, Jaspers and Romilly.

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The intravascular administration of iodine-based contrast media is a common cause of acute kidney injury (AKI). This study investigated whether changes in the urinary concentration of neutrophil gelatinase-associated lipocalin (uNGAL) before and after coronary angiography they are able to predict the development of AKI independently of previously established absolute cut-off values. A total of 125 outpatients undergoing elective coronary angiography were enrolled and divided into 2 subgroups: G1 (n = 103), patients with changes in their serum creatinine after coronary angiography of < 0.3 mg/dL, and G2 (n = 22), patients with changes in their serum creatinine after coronary angiography &#8805; 0.3 mg/dL. The primary study endpoint was AKI defined as AKI network stages 1. uNGAL was measured before coronary arteriography and 2 and 4 hours afterwards. To determine the sensitivity and specificity for the absolute and relative variations of uNGAL, a receiver operator characteristic (ROC) curve analysis was performed. Based on the ROC curve for the relative difference in uNGAL before and after coronary angiography, a 50% increase in the uNGAL value over baseline was 60% sensitive and 81% specific for AKI. The area under the curve for relative differences 2 hours after coronary angiography was 0.82. The percentage variations in the concentration of uNGAL detected the early stages of AKI regardless of the absolute cut-off established. / A administração intravascular dos meios de contraste à base de iodo é uma causa comum da injúria renal aguda. Este estudo investigou se mudanças na concentração da Lipocalina Urinária Associada com Gelatinase de Neutrófilos Humanos (NGALu), antes e após angiografia coronariana eletiva, são capazes de prever o desenvolvimento da injúria renal aguda, independentemente de pontos de corte previamente estabelecidos. Foram avaliados 125 pacientes ambulatoriais submetidos a cinecoronariografia eletiva. Os pacientes foram divididos em dois subgrupos; G1 (n=103), pacientes com alterações nos valores da creatinina sérica < 0,3 mg/dL e G2 (n=22), aqueles em que a creatinina sérica se elevou &#8805; 0,3 mg/dL. O endpoint primário dessa pesquisa foi a injúria renal aguda definida pelo acute kidney injury network estágio 1. Foram realizadas dosagens da Lipocalina urinária Associada com Gelatinase de Neutrófilos imediatamente antes, 2 e 4 horas após a cinecoronariografia. Para determinar a sensibilidade e especificidade das variações absolutas e relativas de NGALu utilizamos receiver operating characteristic (ROC). Com base na curva ROC para diferença relativa no NGALu antes e após a angiografia coronariana eletiva, um aumento de 50% no valor do NGALu após o procedimento, foi 60% sensível e 81% específico para detecção da injúria renal aguda. A área sob a curva para diferença relativa 2 horas após a cinecoronariografia foi 0,82. Variações percentuais na concentração de NGALu foram capazes de prever a injúria renal aguda 2 horas após a angiografia coronariana independentemente de pontos de corte estabelecido em valores absolutos. / Mestre em Ciências da Saúde

This thesis investigates representations of happiness in recent German literature and film. The interpretations focus on how happiness is negotiated in the context of home and travel, of Heimat and Fremde, in order to understand happiness, not only insofar as it contributes to “the good life”, but also as an element that shapes public discourses. My readings of works of fiction take into account how notions of happiness have shifted since the turn of the millennium. One reason for this shift is the heightened interest in happiness research, one of the most thriving interdisciplinary research fields of the last decade, which includes disciplines such as psychology, neurosciences, political science, sociology and economics. The following texts and films are examined in this context: Sommerhaus, später (1998) and Nichts als Gespenster (2003) by Judith Hermann, Transfer Lounge (2003) by Gregor Hens, Die Habenichtse (2006) by Katharina Hacker, Head-On (German: Gegen die Wand, 2004) by Fatih Akın, When We Leave (German: Die Fremde, 2010) by Feo Aladağ, Der Blick hinab (2007) by Shirin Kumm, Unveiled (German: Fremde Haut, 2005) by Angelina Maccarone, Cherry Blossoms (German: Kirschblüten – Hanami, 2008) by Doris Dörrie and Zehn (2010) by Franka Potente. My theoretical framework is informed in part by Sara Ahmed’s 2010 influential study, The Promise of Happiness, which takes a critical view toward recent happiness research from a cultural studies perspective. My analysis is directed at the ways in which concepts of happiness are narrated, negotiated and challenged within the context of transnational stories, which are inscribed with the effects of “supermodernity” (Augé) in a globalized world. I show how these works subvert themes and motifs that are associated with happiness, such as home and Heimat and travel or migration into the West. Finally, my readings show how these works mediate and reflect public dialogues and traditional notions about what makes us happy or unhappy, and I demonstrate how new configurations of happiness arise from these narratives. / Thesis (Ph.D, German) -- Queen's University, 2013-05-30 17:42:26.632

Made available in DSpace on 2016-01-26T12:51:45Z (GMT). No. of bitstreams: 1 fernandobruettorodrigues_tese.pdf: 4591975 bytes, checksum: b79f74b1b34f2f124a27ea0da5458969 (MD5) Previous issue date: 2012-03-08 / Acute kidney injury (AKI) increases the risk of death after acute myocardial infarction (AMI). Recently, two new AKI definitions were proposed: Risk, Injury, Failure, Loss, and End-stage kidney disease (RIFLE) and Acute Kidney Injury Network (AKIN). There are no data comparing AMI-related AKIs diagnosed by both criteria. The purpose of this study is to compare the incidence and mortality of AKI diagnosed by RIFLE and AKIN in the AMI acute phase. In total, 1050 consecutive AMI patients were studied. AKI defined by RIFLE and AKIN occurred in 14.8% and 42.7% of patients, respectively, in the first 7 days of hospitalization. This difference resulted from the larger number of patients in AKIN stage 1 (36.2%) compared with the number in RIFLE stage Risk (9.6%, p < 0.001). Both AKI criteria were associated with an increased Adjusted Hazard Ratio (AHR) for 30-day and 1-year mortality. The subgroup of patients classified as non-AKI by RIFLE but as AKI by AKIN criteria showed an increased AHR for death (2.49; 95% confidence interval [CI] 1.37 4.51, p=0.003) at 30 days and at 1 year (1.99; 95% CI 1.20 3.31, p=0.008) compared with patients without AKI. In conclusion, AKIN has detected more AKI than RIFLE in the acute phase of AMI. Both definitions were associated with increased early and late mortality. Patients diagnosed with AKI by AKIN but not by RIFLE showed an increased AHR for early and late mortality. / A lesão Renal Aguda (LRA) aumenta o risco de morte, após o Infarto Agudo do Miocárdio (IAM). Recentemente, duas novas definições para LRA foram propostas: RIFLE (Risk, Injury, Failure, Loss, and End-stage kidney disease) e AKIN (Acute Kidney Injury Network). Ainda não existem estudos comparando o diagnóstico de LRA por ambos critérios, após IAM. O objetivo deste estudo é comparar os critérios AKIN e RIFLE quanto à incidência de LRA e mortalidade na fase aguda do IAM. Um total de 1.050 pacientes consecutivos com IAM foi estudado. A LRA definida por RIFLE ocorreu em 14,8% e por AKIN em 42,7% dos pacientes nos primeiros sete dias de internação. A diferença ocorreu devido a um grande número de pacientes no estágio um de AKIN (36,2%) em comparação com a categoria Risk do RIFLE (9,6%; p < 0,001). Ambos os critérios para LRA foram associados com aumento da Hazard Ratio Ajustada (HRA) para mortalidade em 30 dias e um ano. O sub-grupo de pacientes classificado com não LRA por RIFLE, mas como LRA por AKIN apresentou uma HRA para morte (2,49; intervalo de confiança [IC] 95% 1,37-4,51; p = 0,003) em 30 dias e em 1 ano (1,99; IC 95% 1,20-3,31; p = 0,008) em comparação a pacientes sem LRA. Concluímos que o critério AKIN detectou mais LRA que o RIFLE na fase aguda do IAM. Ambos os critérios foram associados com aumento da mortalidade precoce e tardia. Pacientes diagnosticados como LRA por AKIN, mas não por RIFLE também apresentaram um aumento da HRA para mortalidade precoce e tardia.

The topic of dissertation is the view and the understanding of term ?love? in Turkish-German coexistence. The dissertation is divided into two main sections. The first one contains general information about life of Turks in Germany. The history-overview of migration to Germany precedes this description. In the theoretical section there is also described the meaning of intercultural life, intercultural literature and intercultural movie. This section is based especially on the studied literature. The second section of dissertation includes analysis of literature work and movie from the view of characters-characteristic and their understanding of term ?love?. Also we can find here the description, how each character copes with the feeling ?to be in love?. The goal of the dissertation is to show intercultural life in the context of the basic human feeling?in the context of love.

C’est après deux opus sur l’immigration turque en Allemagne que le réalisateur turc-allemand Fatih Akin décide d’explorer la période la plus sombre de son pays d’origine. Avec le film The Cut (2014), il clôt la trilogie Liebe, Tod und Teufel. Ce mémoire réfléchit sur l’utilisation du genre Western dans la représentation du génocide arménien. Nous ferons tout d’abord un court historique du genre Western et de la représentation génocidaire au cinéma, pour ensuite analyser le film d’après la notion de genre et voir dans quelle mesure l’utilisation d’un genre connu universellement permet à Fatih Akin de ne pas justifier ses choix esthétiques. Au cours de cette analyse, nous nous baserons sur quatre éléments clés afin d’établir un lien avec le genre Western: la figure du héros, les paysages, le mythe de la frontière ainsi que le titre du film lui-même. Le but de ce travail ne sera pas d’être comparatif, mais bien de déterminer dans quelle mesure le film s’inscrit dans le mouvement Postwestern. Enfin, la notion d’identité nous permettra de comprendre de quelle manière le film The Cut s’insère au sein de la trilogie d’Akin. / It is after his second opus on Turkish immigration in Germany that Turkish-German director Fatih Akin decided to explore the darkest period of his country of origin. With the film The Cut, he ends the trilogy Liebe, Tod und Teufel. This master’s thesis reflects on the use of the Western genre in the representation of the Armenian Genocide. We will start with a short history of the Western genre and the representation of genocide in cinema. Then we will analyse the film as per the notion of genre and see under which measure the use of a universally known genre enables Fatih Akin to justify his aesthetic choices. During this analysis, we will use four key elements as the groundwork to establish a link with the Western genre. They are the figure of the hero, the landscapes, the myth of the frontier and the title of the film itself. The intention of this research is not to be comparative, but to situate the film within the movement that is the Post-western. Finally, the notion of identity will allow us to understand how the film The Cut exists within Akin’s trilogy. / Nach seinem zweiten Opus zur türkischen Immigration entschied sich der türkisch-deutsche Regisseur Fatih Akin, die dunkelste Periode seines Heimatlandes zu verfilmen. Mit dem Film The Cut beendet er seine Trilogie Liebe, Tod und Teufel. Diese Magisterarbeit analysiert die Verwendung des Westerngenres in der Darstellung des armenischen Völkermordes in The Cut. Begonnen wird mit einem kurzen Überblick über die Geschichte des Westerngenres, bevor auf die Darstellung des Völkermords im Film eingegangen wird. Im Anschluss wird untersucht, inwiefern die Verwendung des Genres Western Fatih Akin seine filmästhetischen Entscheidungen ermöglicht. Diese Untersuchung basiert auf der Grundlage von vier Schlüsselmotiven: der Heldenfigur, der Landschaft, des Mythos des Grenzlandes sowie des Filmtitels selbst. Die Intention dieser Analyse ist jedoch nicht vergleichender Natur. Es wird vielmehr versucht, den Film in seine Einzelteile zu zerlegen, um ihn in die Post-Western-Bewegung einbetten zu können, ohne dabei das Identitätsstreben der ersten beiden Filme der Trilogie außer Acht zu lassen. In diesem Kontext lässt sich eine Verbindung mit dem Heimatfilm herstellen und es wird ein besseres Verständnis für die Rolle von The Cut innerhalb der Trilogie ermöglicht.

Univerzita Karlova v Praze 1. lékařská fakulta Postgraduální doktorský program v biomedicíně Studijní obor: Experimentální chirurgie Disertační práce MUDr. Jan Klouda: Preoperative planning of the reconstructive surgery of the forefoot Abstract The presented thesis describes a study aimed at the change of articular surface position in the region of first metatarsophalangeal joint after operative reconstruction due to hallux valgus deformity, done by performing Lapidus arthrodesis. The study evaluates a cohort of patients, who underwent surgery in Department of Orthopaedics, First Faculty of Medicine, Charles University in Prague at Motol University Hospital from 2010 to 2015. The results and clinical implications of the aforementioned retrospective study were published in 2018. The observers evaluated several defined angles on preoperative and postoperative radiographs of the forefoot. The angles were thoroughly selected with regard to the exact representation of first metatarsophalangeal joint articular surface position in relation to the axes of first metatarsal and the whole forefoot. The executed measurements allowed us to assess the overall effectivity of the performed surgery in deformity correction, as well as to describe possible pitfalls and disadvantages resulting from the change of structural...