Concern is mounting over the increase in prevalence and severity of overweight and obesity in children worldwide. Intrauterine life has been identified as a critical period for the development of overweight or obesity and other related chronic diseases. Prenatal exposure to maternal cigarette smoke (PEMCS) has consistently emerged as an important risk factor for excess weight in the offspring and is a targetable behaviour for prevention strategies. This study examines first the relationship between PEMCS and overweight status of children at 10 years of age and second, whether PEMCS is associated with distinct longitudinal BMI trajectories. Analyses include multivariate and multinomial logistic regression and longitudinal group based modeling methods. PEMCS was found to be a significant risk factor for overweight in children independent of birth weight and catch-up growth. However, PEMCS was not associated with BMI trajectory membership. Our results lend support to the paradigm of in-utero excess weight prevention.

AN ABSTRACT OF THE DISSERTATION OF ASHLEY GREEN, for the Doctor of Philosophy degree in English, presented on November 5, 2012, at Southern Illinois University Carbondale. TITLE: TRAUMA INSCRIBED ON THE BODY IN PAT BARKER'S REGENERATION TRILOGY MAJOR PROFESSOR: Dr. Michael Molino In the nineties, British writer, Pat Barker, completed a sequence of novels entitled The Regeneration Trilogy in which she set to the task of understanding trauma in relation to our notions, or mis-notions rather, of WWI. In this trilogy, the author does not simply engage a discussion of the past through the integration of historical figures, personal recordings, and accurate accounts of society and the Western Front during 1917-1918; but through the complexity of her characters' personalities and lives a rather comprehensive evaluation of trauma and its effects on the subject emerges. In the initial book in her sequence, Regeneration, Barker is specifically interested in the ways in which the physical symptoms of war neurosis communicate the nature of an internal crisis, and how those very same manifestations enlighten our understanding of the obstacles of traumatic communication. Dr. Rivers's role as a therapist who endorses the "Talking Cure" establishes language as the key element to the process recovery, proposing, then, it is through a dialectical relationship that the wound[ed] can speak; language, for Barker, is the link reconnecting individuals to their trauma, subjects to their past and present selves, and, ultimately, the soul to its body. It is really through the process of integrating history and fiction that the author is able to evaluate the full breadth of Great Britain's traumatization during WWI. As Barker moves through her trilogy, her observations of trauma increase in scope as Dr. Rivers moves from Craiglockhart, Scotland, ultimately, to London working at the Empire Hospital with Dr. Henry Head. Initially, Dr. Rivers treats specifically shell-shocked soldiers but by The Eye in the Door, Rivers begins treating officers of a different branch, pilots of the Royal Flying Corps; and by the final book in the sequence, The Ghost Road, the doctor applies his clinical theories to both physically and emotionally damaged patients. In direct relation to Dr. Rivers's greater perspective, Barker also brings to light her observations of total traumatization by depicting her female characters as subverted elements of society and locales of crisis. In addition, Barker represents culture as one that also displays obvious clues of violence and traumatization. Ultimately, Barker does all this to make a comprehensive observation of trauma: the physical always reveals evidence of its experience. Through reading the material of -- and written on the body--we can only begin to understand fully the complex nature of trauma and the way in which it has entirely disrupted, yet composed our historical identities.

No description available.

Concern is mounting over the increase in prevalence and severity of overweight and obesity in children worldwide. Intrauterine life has been identified as a critical period for the development of overweight or obesity and other related chronic diseases. Prenatal exposure to maternal cigarette smoke (PEMCS) has consistently emerged as an important risk factor for excess weight in the offspring and is a targetable behaviour for prevention strategies. This study examines first the relationship between PEMCS and overweight status of children at 10 years of age and second, whether PEMCS is associated with distinct longitudinal BMI trajectories. Analyses include multivariate and multinomial logistic regression and longitudinal group based modeling methods. PEMCS was found to be a significant risk factor for overweight in children independent of birth weight and catch-up growth. However, PEMCS was not associated with BMI trajectory membership. Our results lend support to the paradigm of in-utero excess weight prevention.

No description available.

Associant l’analyse du discours esthétique des auteurs comme Müller, Bond et Barker, à l’étude dramaturgique de leurs réécritures respectives de Shakespeare, cette thèse a pour but de s’interroger sur l’émergence d’une nouvelle forme dramatique – la dystopie théâtrale. En faisant appel à l’instrumentalisation de la catastrophe, à la fois shakespearienne et historique, les dramaturges s’empressent à écrire des pièces qui partagent presque la même vision sur l’avenir du monde et de l’homme. L’apocalypse du roi Lear et la vision cauchemardesque qu’Hamlet porte sur le monde sont greffées, par les dramaturges, sur des tissus dramatiques étayés déjà sur les traces des barbaries du XXe et XXIe siècles. En tant qu'écritures résolument catastrophistes, les « dystopies théâtrales » s’opposent, à première vue, à toute fonction utopique. Néanmoins, le ton apocalyptique (au sens derridien du terme) qui les caractérise, cache des fonctions esthétiques qui questionnent à nouveau la catharsis et la nature même du théâtre. En analysant ces fonctions, nous tentons de démontrer que ces formes dramatiques peuvent être vues aussi comme des dramaturgies censées provoquer l’éveil des consciences et ressusciter ainsi la pulsion utopique que l’Humanité semble avoir perdue. En plus d’une épuration émotionnelle (qui elle-même est remise en question), la dystopie théâtrale est aussi caractérisée par une catharsis inversée, dans le sens d’une surcharge intellective et d’une rétention émotionnelle qui touche souvent le paroxysme. Quel lien entre l’Utopie et la « dystopie théâtrale » ? / This thesis emphasizes the emergence of a new dramaturgical form – the theatrical dystopia. The study analyses the aesthetical discourse of authors such as Heiner Müller, Edward Bond and Howard Barker, as well as their contemporary rewritings of some of Shakespeare’s plays. Through their conceptualization of the Catastrophe, both Shakespearian and historical, these authors seem to have the same vision of the future of the world and the humans. King Lear’s apocalypse and the nightmarish “Hamletian” vision of the world are grafted on modern literary “tissues”, which are already imbued with the traces of the catastrophes from twentieth and the twenty-first century. Theatrical dystopias seem opposed to every utopian function. Nevertheless, le ton apocalyptique (Derrida) which characterizes them hides aesthetical functions, which cast new meanings to the catharsis notion and the nature of the theatre. By analyzing these functions by and large, this study shows that these new dramaturgical forms are to be seen as writings that highlight awareness and resuscitate the utopian impulse that the Humanity seems to have lost. Despite a strong emotional discharge (which also acquires new functions), theatrical dystopias are also characterized by inverse catharsis – a cerebral and emotional retention which often touches paroxysm. What is thus the connection between Utopia and theatrical dystopia?

Bakgrund: Bipolär sjukdom karaktäriseras av att sinnestillståndet pendlar mellan höga och låga stämningslägen. De växlande sjukdomsepisoderna bidrar till en komplex livssituation för patienten. Patientens symtombild står som grund för diagnostisering av bipolär sjukdom och behandling inriktas främst på farmakologisk behandling och även psykoterapi vid behov. Utöver det beskrivna krävs ett gott samarbete mellan anhöriga, patient och vårdpersonal. Detta är väsentligt för att patienten ska erhålla ett adekvat stöd och samtidigt öka förutsättningarna för god följsamhet av sin behandling. Syfte: Syftet var att belysa patienters upplevelser av att leva med bipolär sjukdom. Metod: Denna uppsats är en litteraturöversikt och elva vetenskapliga artiklar med kvalitativ metod har analyserats. Resultat: Utifrån analysen skapades fem huvudteman med tillhörande underteman. Fem huvudteman formades: Det sociala sammanhanget, Identitet och förlorad kontroll, Upplevelsen av sjukdomssymtom, Att bli stigmatiserad och Att medicinera- En ambivalent upplevelse. Resultatet visar att patienter upplevde bristande kunskap från omgivningen gällande bipolär sjukdom vilket ledde till isolering och en känsla av identitetsförlust hos patienterna. Diskussion: Bipolär sjukdom kräver i många fall ett starkt socialt nätverk för att patienten ska få stöd i sin hantering av sjukdomen och omgivningen kan bidra med både positiva och negativa upplevelser för patienten. För att patienten ska erhålla ett adekvat stöd krävs det vid bipolär sjukdom kunskap och förståelse från omgivningen samt vårdpersonal. Phil Barkers omvårdnadsteori belyser samarbete med anhöriga och evidensbaseradeverktyg, som fokuserar på patientens berättelse, som avgörande komponenter i patientens omvårdnadsprocess. / Background: Bipolar disease is characterized by a state of mind that commutes between high and low mood swings. The variating episodes contribute to a complex life situation for the patient. The patient’s symptoms are used for diagnosing bipolar disorder and treatment is primarily pharmacological treatment and psychotherapy commonly used when needed. Furthermore good cooperation between relatives, patients and healthcare professionals are required. This is essential so that the patient can receive adequate support and also increase presumptions for good compliance with treatment.  Aim: The purpose was to illustrate patients’ experiences of living with bipolar disorder. Method: This essay is a literature review and eleven scientific articles with qualitative method have been analyzed.   Results: Based on the analysis, five main themes were created with associated subtheme. Five main themes emerged: The social context, Identity and loss of control, The experience of disease symptoms, Becoming stigmatized and Being medicated- An ambivalent experience. The result shows that patients experienced insufficient knowledge from the environment regarding bipolar disorder which has led to isolation and a sense of identity loss in patients.  Discussion: Bipolar disorder requires in many cases a strong social network in order for the patients to receive support in their management of the disease and the environment can contribute with both positive and negative experiences for the patient. In order for the patient to receive adequate support, bipolar disorder requires knowledge and understanding from the environment as well as healthcare professionals. Phil Barker's Nursing Theory illustrates collaboration with relatives and evidence-based tools, that focus on the patient's story, as crucial parts of the patient's nursing process.

Thesis (M.A.)--University of Missouri-Columbia, 2006. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 30, 2007) Includes bibliographical references.

Bibliography : leaves 293-304. / xii, 304 leaves : ill., maps ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Zoology, 1994

Bibliography: leaves 221-234 / This research explores the humour and laughter in Howard Barker's Theatre of Catastrophe in the light of Mikhail Bakhtin's theory of the carnivalesque against the backdrop of the postSecond-World-War British (post-WWII) society and cultural tendencies and problems thereof. In this research, which explores the different stages of Barker's work – namely plays written in the seventies, the eighties and early nineties – I argue that comedy and laughter are pivotal to Howard Barker's theory for theatre which ultimately shaped his Theatre of Catastrophe as a tragic theatre. Howard Barker forged the appearance of a unique theatrical practice, the Theatre of Catastrophe, not only through the revival of pain, death and tragedy but also through the juxtaposition of the carnivalesque and death/tragedy. This research therefore, studies transformation in Barker's art of theatre in a period of twenty years and demonstrates how the playwright deviates from tenets he set for his tragic theatre without necessarily betraying its tragic spirit. It is worth highlighting the observation that, the marriage of catastrophe and the carnivalesque remains the most significant achievement of Barker's art of theatre. Chapter Two of the research explores Bakhtin's theory of the carnival through the elaboration of crucial concepts such as the grotesque imagery, laughter and the marketplace. Bakhtin's thoughts on laughter root in Henri Bergson's theory of laughter. Definitely the realm of laughter somewhere in between art and life, both Bergson and Bakhtin also emphasise on the negative aspect of laughter. The engagement of individuals in the marketplace creates the concrete presence which is crucial to the carnivalesque. Taking into account the tenets of the Bakhtinian carnivalesque, this second chapter also concisely studies the challenges posed to the carnival theory by philosophers such as Umberto Eco and Terry Eagleton. The chapter finally investigates the revival of the concept of the carnival in the post-war British drama by studying David Edgar's advocacy of Augusto Boal's thoughts on the theatre and the necessity of the carnival. Chapters Three and Four offer close analyses of the plays written by Barker in the seventies, eighties and early nineties with the primary aim to show the turns and shifts that he takes in the development of his career as an oppositional playwright in search of a remedy to the cultural malaise of his day. The plays selected for these chapters are the ones which the playwright has categorised as his best plays, namely, Claw (1975), Stripwell (1975), The Love of a Good Man (1978), The Power of the Dog (1984), The Castle (1985), The Europeans (1987), (Uncle) Vanya (1992). Chapter Five sums up the findings on the research and concludes that Barker's comic sense goes beyond the comic sense ascribed to many tragic playwrights. The comedy which permeates his theatre of catastrophe shares affinities with the carnival leading to a carnivalisation of catastrophe in Barker's tragic theatre despite the claims by the Barker and his downplaying of the comedy which exists in his oeuvre. / English Studies / D. Litt. et Phil. (English Studies)