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The bacterium Neisseria meningitidis causes life-threatening disease worldwide, typically with a clinical presentation of sepsis or meningitis, but can be carried asymptomatically as part of the normal human oropharyngeal microbiota. The aim of this study was to examine N. meningitidis carriage with regard to prevalence, risk factors for carriage, distribution of meningococcal lineages and persistence of meningococcal carriage. Throat samples and data from a self-reported questionnaire were obtained from 2744 university students (median age: 23 years) at a university in Sweden on four occasions during a 12-month period. Meningococcal isolates were characterised using whole-genome sequencing. The carriage rate among the students was 9.1% (319/3488; 95% CI 8.2–10.1). Factors associated with higher carriage rate were age ≤22 years, previous tonsillectomy, cigarette smoking, drinking alcohol and attending parties, pubs and clubs. Female gender and sharing a household with children aged 0–9 years were associated with lower carriage. The most frequent genogroups were capsule null locus (cnl), group B and group Y and the most commonly identified clonal complexes (cc) were cc198 and cc23. Persistent carriage with the same meningococcal strain for 12 months was observed in two students. Follow-up times exceeding 12 months are recommended for future studies investigating long-term carriage of N. meningitidis.
Population genetic studies often overlook the evidence for variability and change in past material culture. Here, the authors use a Mesolithic example to demonstrate the importance of integrating archaeological evidence into the interpretation of the Scandinavian hunter-gatherer genetic group. Genetic studies conclude that this group resulted from two single-event dispersals into Scandinavia before 7500 BC. Archaeological evidence, however, shows at least six immigration events pre-dating the earliest DNA, and that the first incoming groups arrived in Scandinavia before 9000 BC. The findings underline the importance of conducting careful archaeological analysis of prehistoric human dispersal in tandem with the study of ancient population genomics.
We aimed to assess the feasibility of a simple new fifteen-item FFQ as a tool for screening risk of poor dietary patterns in a healthy middle-aged population and to investigate how the results of the FFQ correlated with cardiovascular risk factors and socio-economic factors.
Design
A randomized population-based cross-sectional study. Metabolic measurements for cardiovascular risk factors and information about lifestyle were collected. A fifteen-item FFQ was created to obtain information about dietary patterns. From the FFQ, a healthy eating index was created with three dietary groups: good, average and poor. Multivariate logistic regression was used to assess relationships between dietary patterns and cardiovascular risk factors.
Setting
Sweden.
Subjects
Men and women aged 50 years and living in Gothenburg, Sweden.
Results
In total, 521 middle-aged adults (257 men, 264 women) were examined. With good dietary pattern as the reference, there was a gradient association of having obesity, hypertension and high serum TAG in those with average and poor dietary patterns. After adjustment for education and lifestyle factors, individuals with a poor dietary pattern still had significantly higher risk (OR; 95 % CI) of obesity (2·33; 1·10, 4·94), hypertension (2·73; 1·44, 5·20) and high serum TAG (2·62; 1·33, 5·14) compared with those with a good dietary pattern.
Conclusions
Baseline data collected by a short FFQ can predict cardiovascular risk factors in middle-aged Swedish men and women. The FFQ could be a useful tool in health-care settings, when screening for risk of poor dietary patterns.
Understanding Cinema, first published in 2003, analyzes the moving imagery of film and television from a psychological perspective. Per Persson argues that spectators perceive, think, apply knowledge, infer, interpret, feel and make use of knowledge, assumptions, expectations and prejudices when viewing and making sense of film. Drawing psychology and anthropology, he explains how close-ups, editing conventions, character psychology and other cinematic techniques work, and how and why they affect the spectator. This study integrates psychological and culturalist approaches to meanings and reception. Anchoring the discussion in concrete examples from early and contemporary cinema, Understanding Cinema also analyzes the design of cinema conventions and their stylistic transformations through the evolution of film.
We report the layer structure and composition in recently discovered TiN/SiN(001) superlattices deposited by dual-reactive magnetron sputtering on MgO(001) substrates. High-resolution transmission electron microscopy combined with Z-contrast scanning transmission electron microscopy, x-ray reflection, diffraction, and reciprocal-space mapping shows the formation of high-quality superlattices with coherently strained cubic TiN and SiN layers for SiN thickness below 7–10 Å. For increasing SiN layer thicknesses, a transformation from epitaxial to amorphous SiNx (x ⩾ 1) occurs during growth. Elastic recoil detection analysis revealed an increase in nitrogen and argon content in SiNx layers during the phase transformation. The oxygen, carbon, and hydrogen contents in the multilayers were around the detection limit (∼0.1 at.%) with no indication of segregation to the layer interfaces. Nanoindentation experiments confirmed superlattice hardening in the films. The highest hardness of 40.4 ± 0.8 GPa was obtained for 20-Å TiN with 5-Å-thick SiN(001) interlayers, compared to monolithic TiN at 20.2 ± 0.9 GPa.
In order to combine the merits of both HfO2 and Al2O3 as high-κ gate dielectrics for CMOS technology, high-κ nanolaminate structures in the form of either Al2O3/HfO2/Al2O3 or Al2O3/HfAlOx/Al2O3 were implemented in pMOSFETs and electrically and microstructurally charachterized. ALD TiN film was used as the metal gate electrodes for the pMOSFETs. After full transistor-processing including a rapid thermal processing step at 930 °C, the HfO2 film in the former nanolaminate was found to be crystallized. In contrast, the HfAlOx layer in the latter nanolaminate remained in the amorphous state. Both types of pMOSFETs exhibited a hysteresis as small as ∼20 mV in C-V characteristics in the bias range of +/− 2 V. They also showed a reduced gate leakage current. The pMOSFET with the Al2O3/HfAlOx/Al2O3 nanolaminate was characterized with a subthreshold slope of 77 mV/decade and a channel hole mobility close to the universal hole mobility curve. The pMOSFET with the Al2O3/HfO2/Al2O3, however, exhibited a subthreshold slope of 100 mV/decade and a ∼30% lower hole mobility than the universal curve.
At present, there is a consensus that various Stress Driven Rearrangement Instabilities (SDRI) are the implications of the mathematically rigorous theoretical Gibbs thermodynamics. Many applied researchers and practitioners believe that SDRI are also universal physical phenomena occurring over a large range of length scales and applied topics. There is a multitude of publications claiming experimental observation of the SDRI based phenomena. This opinion is challenged by other highly respected scholars claiming theoretical inconsistencies and multiple experimental counterexamples. Such an uncertainty is too costly for further progress on the SDRI topic. The ultimate goal of our project is to resolve this controversy.
The project includes experimental, theoretical, and numerical studies. Among various plausible manifestations of SDRI, the authors focused only on two most promising for which the validity of the SDRI has already been claimed by other researchers: a) stress driven corrugations of the solid-melt phase interface in macroscopic quantum 4He and b) the dislocation-free Stranski-Krastanov pattern of growth of semiconductor quantum dots. We devised a program and experimental set-ups for testing applicability of the SDRI mechanisms using the same physical systems as before but using implications of the SDRI theory for 2D patterning which have never been tested in the past.
Intimate space … is the distance of both lovemaking and murder!
(Meyrowitz, 1986:261)
[W]e should be aware that, just like the language of poetry is dependent on natural language, so must cinema be related to in-set visual and kinesthetic patterns of cultural behaviour.
(Tsivian, 1994:197)
Variable framing seems to be one of the crucial formal and discursive aspects of moving images in general and narrative cinema in particular. Changing the framing of the profilmic space is a powerful device for narration to create hierarchies within the image, direct the spectator's attention to important details, give spatial overviews of scenes, and affect the spectator emotionally. As we shall see, cut-ins, close-ups, and camera or character movement have had different functions within the history of film. I will argue that some of those functions work in relation to, and can be accounted for by, a theory of personal space. At the core of this argument lies the assumption that the spectator brings to the theater spatial and bodily “expectations” or “dispositions” with which the cinematic discourse interacts and thereby produces certain meanings and effects.
The idea is not new. The link between personal space and variable framing has been given some attention over the past fifteen years in media psychology (Messaris, 1994:89ff; Meyrowitz, 1986; Reeves, Lombard & Melwani, 1992) and in historical reception studies (Tsivian, 1994:196). Some of these may have appeared independent of each other, which suggests the feasibility of the connection.
[W]hen we watch a movie, we take the separate spaces of the various sets and merge them into a continuous space that exists only in our minds.
(Murray, 1997:110)
[E]diting is not merely a method of the junction of separate scenes or pieces, but is a method that controls the “psychological guidance” of the spectator.
Pudovkin, 1970:75
If the term point-of-view (POV) is laden with multiple meanings in everyday discourse, cinema scholarship has done its best to add to this formidable semantic jungle. In narratology, the term can refer to the conceptual perspective of a character and the way knowledge is distributed by the narration among characters. It may also refer to the way in which characters comment on or relate to diegetic events. Moreover, it can designate the stance of the narrator or the implied author toward fictive events, and it can be used in reference to the filmmaker's personal POV. In all of these cases, POV is seen as a textual structure that can be investigated and revealed through meticulous textual analysis. According to one scholar,
[T]he category of point-of-view is one of the most important means of structuring narrative discourse and one of the most powerful mechanisms for audience manipulation. The manipulation of point-of-view allows the text to vary or deform the material of the fabula, presenting it from different points-of-view, restricting it to one incomplete point-of-view, or privileging a single point-of-view as hierarchically superior to others.
(Stam, Burgoyne & Flitterman-Lewis, 1992:84)
The most straightforward sense of the term – which will be the only emphasis in this chapter – is perhaps optical or perceptual POV, or what I choose to call POV editing.
A number of people have contributed to this project. Although I have exposed my supervisor, Jan Olsson, to many long and tedious texts over the years, he has patiently endured and given fast feedback in the intelligent and verbally equilibristic way that is only his. In the same spirit, many fellow students and teachers at the colloquium in the Department of Cinema Studies, Stockholm University, have given me constructive criticism when it was best needed. I would like to express my thanks to David Bordwell, who took the time to read and comment on some of my draft chapters and inspired me academically with his lectures and professionalism. David Modjeska's meticulous revision of my English provided invaluable help, and his corrections often led to clarifications of content. Younghee Jung and my brother, Ola Persson, delicately provided the form and layout of the book. Maxime Fleckner Ducey granted me access to the archives of Wisconsin Center for Film and Theater Research, from which most of the photographic material in this book originates. The staff at the Department of Cinema Studies helped me with technical and economical matters all through the project. The Sweden–America Foundation allowed me the financial means to stay abroad for a year. Additional funding was provided for by Holger och Thyra Lauritzens Stiftelse, Wallenbergsstiftelsens Jubileumsfond, Run-Jannes Stipendium, and the Swedish Institute of Computer Science. I would also like to express my gratitude to all people at the HUMLE lab at the Swedish Institute of Computer Science for their generous support and constructive discussions.
Literature is written by, for and about people. (Bal, 1985:80)
Introduction
In the preceding chapters we were occupied with clear and fairly “small-scale” dispositions of the spectator (deictic gaze and personal space). These were intimately related to bodies and physical behavior. We now turn to a more general set of dispositions; namely, how people know or infer what others think or feel. This ability is much more “cognitive” and knowledge based than the two dispositions already discussed, involving sophisticated forms of reasoning. Eventually, it all comes down to characters and the strategies and competencies used by spectators to understand and make sense of the characters' screen behavior.
Characters have central functions in most narratives. In contrast to other modes of discourse, narratives focus on anthropomorphic creatures. In narratives, as in scientific descriptions of solar systems and molecules, events take place in a rule-based fashion. Unlike scientific descriptions, however, narrative occurrences have some form of human significance. They involve humanlike entities who act within and react to a social and physical environment. In fact, it seems that spectators' “‘entry into’ narrative structures are mediated by characters” (Smith,1995:18). In this respect, characters (in the broadest sense) should occupy a central position not only in a theory of narrative texts (narratology), but also in a theory of the reception and understanding of narrative texts.
To put the present project in perspective, it is important to outline dominant approaches to characters within literature and cinema studies.