OESTROGEN AND THE EARLY STAGES OF HEXADIMETHRINE NECROSIS OF THE ANTERIOR PITUITARY AND ADRENAL CORTEX

1965 ◽  
Vol 33 (2) ◽  
pp. 179-183 ◽  
Author(s):  
R. CARROLL ◽  
K. KOVÁCS ◽  
E. TAPP
Keyword(s):  
Adrenal Cortex ◽  
Anterior Pituitary ◽  
The Other ◽  
Experimental Animals ◽  
Early Stages ◽  
No Reflow ◽  
Other Hand ◽  
The Dead ◽  
Marginal Zones

SUMMARY Infarction of the anterior pituitary and adrenal cortex caused by hexadimethrine in experimental animals was found to be variable in incidence and extent. Pretreatment with oestrogen made the lesions more severe and almost of constant occurrence. The early stages of the lesions were studied in rats from 1 to 6 hr. after the administration of hexadimethrine. The local vasospasm which caused the infarction in the adrenal cortex seemed to pass off in 2 or 3 hr. and to be followed by a failed reflow which produced much haemorrhage. On the other hand, it appears that there was little or no reflow into the dead anterior pituitary during the first 6 hr. Necrotic changes did not develop within that period in animals pretreated with oestrogen but secondary thrombosis occurred in vessels of the marginal zones of the necrotic anterior pituitary after about 12 to 24 hr.

Comparative leaf development of aerial and aquatic growth forms of Myriophyllum aquaticum

Botany ◽  
2013 ◽  
Vol 91 (7) ◽  
pp. 421-430 ◽  
Author(s):  
M.D. Shafiullah ◽  
Christian R. Lacroix
Keyword(s):  
Apical Meristem ◽  
Epidermal Cells ◽  
The Other ◽  
Developmental Study ◽  
Growth Forms ◽  
Myriophyllum Aquaticum ◽  
Stages Of Development ◽  
Qualitative And Quantitative ◽  
Early Stages ◽  
Other Hand

Myriophyllum aquaticum (Vell.) Verdc. produces two morphologically different forms of leaves based on whether they are aerial or aquatic. The objective of this study was to determine whether there are any similarities or differences between these two growth forms during their early stages of development. A comparative developmental study of aerial and aquatic growth forms of M. aquaticum was conducted from a qualitative and quantitative perspective using a scanning electron microscope. The pattern of leaf and lobe initiation such as their origin and shape were similar in both growth forms until the fourth plastochron (stage P4). Differences between the two growth forms became evident from stage P5 onward, where a larger shoot apical meristem (SAM), elongated epidermal cells, shorter and slightly more numerous lobes, as well as the presence of appendage-like structures characterized aquatic growth forms. On the other hand, aerial growth forms had smaller SAM, bulb-like epidermal cells, and longer and slightly less numerous leaf lobes. Significant differences between growth forms were noted for parameters such as volume of SAM, length of terminal, first, and middle lobes, as well as the length from first to last lobes. The volume of the SAM of aquatic shoot tips was always greater than aerial forms. On the other hand, lobes of aerial forms were always longer than the aquatic counterpart during early stages of development. This study on the development of M. aquaticum shows that the aerial and aquatic growth forms diverge from their early stages of development.

Gendering grief: The Strī Parvan of the Mahābhārata

2020 ◽  
Vol 7 (2) ◽  
pp. 109-120
Author(s):  
Kumkum Roy
Keyword(s):  
The Other ◽  
Small Section ◽  
Other Hand ◽  
The Dead

The article focuses on Śānti Parvan, a small section of the Mahābhārata, describing the scene after the cataclysmic war. It explores the convergences and divergences between masculine and feminine expressions of grief in response to bereavement, as described here. The former appears to be concerned with identities of the dead as kshatriyas and kings. The latter, on the other hand, focuses more centrally on the dead as kinsmen-related through both natal and marital ties, even as there are overlaps.

scholarly journals II.—Excavations at Sparta, 1906: § 6.—Remains of the Archaic Greek Period

1906 ◽  
Vol 12 ◽  
pp. 318-330
Author(s):  
R. M. Dawkins
Keyword(s):  
The Other ◽  
Virgin Soil ◽  
Original Condition ◽  
Destructive Effect ◽  
Early Stages ◽  
Other Hand ◽  
Chief Interest ◽  
Striking Contrast ◽  
Votive Offerings

The archaic remains, which the trial trenches have revealed at a level beneath the Roman building and temple described above, present in one respect a striking contrast. Except inscriptions, the later buildings have not yielded many small objects: their importance lies in their architectural arrangement and purpose. In the archaic stratum on the other hand, although some architectural fragments have already been found, and more are expected, the chief interest centres in the wonderful wealth of small objects, doubtless votive offerings, and the light they throw on the early stages of art in Sparta. Before our work this year, this deposit was accessible only from the side of the river, where erosion has produced a section of all the strata from the present surface down to virgin soil. This face, shewn in Fig. 1, p. 319, in its original condition before excavation, we have protected with a wall, to guard the site from the destructive effect of the floods to which the Eurotas is liable, the lowest remains being hardly higher than the level of the bed of the river. Work was begun at this naturally exposed face, where the lead figurines now in the Sparta Museum were found, which gave the first clue to the site, and the number of archaic objects unearthed in the first few hours immediately revealed its extraordinary richness.

On the Etymology of ΤΡΑΓΩΙΔΙΑ

1912 ◽  
Vol 6 (1) ◽  
pp. 60-63 ◽  
Author(s):  
Louis H. Gray
Keyword(s):  
The Other ◽  
Greek Religion ◽  
Other Hand ◽  
Introductory Article ◽  
Religion And Ethics ◽  
The Dead ◽  
Griechische Mythologie

In the course of the preparation of the introductory article on ‘Drama’ for Hastings Encyclopaedia of Religion and Ethics, my attention was directed, not only to the problem of the origin of this type of drama, but also to the basal meaning of the Greek term . It need scarcely be said that the rise of tragedy is almost universally connected with the cult of Dionysos (for the most recent exponents of this theory see Miss Harrison, Prolegomena to the Study of Greek Religion, pp. 568 sqq., Cambridge, 1908; Gruppe, Griechische Mythologie und Religionsgeschichte, p. 1436, Munich, 1906; Farnell, Cults of the Greek States, v. 229 sqq., Oxford, 1909). On the other hand, the theory has been advanced by Crusius (Preussische Jahrbiicher, lxxiv. [1893], 394), Hirt (Indogermanen, pp. 477 sq., 727, Strassburg, 1905–07), and especially Ridgeway (Address before the Hellenic Society, May, 1904 [cf. Athenaeum, No. 3995, p. 660, and Maas in Wochenblatt für klassische Philologie, 1904, pp. 779–783]; and particularly in his Origin of Tragedy, Cambridge, 1910), that tragedy arose not from the Dionysos-cult, but from the desire to honour and appease the dead. It is to this latter theory that I strongly incline, and I feel that tragedy can be connected with the cult of Dionysos only through this deity's aspect of a chthonic god who gave release from the lower world and who was later identified with Attis, Adonis, and Osiris (cf. Harrison, chap. viii.; Farnell, chap, v.; Gruppe, pp. 1407–1440).

scholarly journals Demonstration of chromatinic structures in avian tubercle bacilli in the early stages of development

1947 ◽  
Vol 45 (4) ◽  
pp. 413-416 ◽  
Author(s):  
E. M. Brieger ◽  
C. F. Robinow
Keyword(s):  
Hydrochloric Acid ◽  
Early Development ◽  
The Other ◽  
Feulgen Reaction ◽  
Cytological Investigation ◽  
Stages Of Development ◽  
The Third ◽  
Early Stages ◽  
Other Hand ◽  
The Masses

In a cytological investigation of three branching and two non-branching strains grown on Loewenstein medium, it was found that avian tubercle bacilli contain chromatinic material which gives a positive Feulgen reaction and is readily stainable with Giemsa's solution after treatment of the fixed bacteria with hydrochloric acid.Growing filamentous forms of both ‘bacterial’ and ‘mycelial’ strains from 1 to 2 day old cultures contain variable numbers of irregularly spaced, more or less spherical chromatinic bodies which vary in staining in the same bacillus, some being red, others purple. During the third or fourth day the chromatinic material in the bacteria increases very much until most of it is fused into an almost homogeneous deeply stained column. In thenon-branchingstrains the filamentous forms with high chromatin content soon break up into small mono-or binucleate elements, and the same holds true for the ‘straight’ filamentous forms which are also present in cultures of branching strains. The ‘mycelial’ forms, on the other hand, disintegrate at this time (fourth or fifth day of cultivation), and it is uncertain whether they contribute (by partial fragmentation) to the masses of small mono- or binucleate forms which are the predominant element in old cultures of all the strains investigated.The chromatinic structures of avian tubercle bacilli have the same staining properties as those of ordinary non-acid-fast bacteria but differ from them in their behaviour during the early development of the bacilli.

A Group of Plastic Vases

1938 ◽  
Vol 58 (2) ◽  
pp. 255-255
Author(s):  
Martin Robertson
Keyword(s):  
The Other ◽  
Other Hand ◽  
The Dead ◽  
Formed Part ◽  
Italian Origin ◽  
Made In

(JHS lviii, pp. 41 ff.). Fragments of two vases in the form of dead hares were found at Lindos (Blinkenberg, nos. 1934–5, pl. 85). These are certainly not Corinthian; Blinkenberg describes the fabric of 1934 as ‘ terre rouge fine ’ and that of 1935 as ‘ terre d'un chamois rougeâtre,’ and compares the Copenhagen vase, my no. 12. If these fragments belong to the group, the theory of an Italian origin cannot stand. On the other hand, I pointed out that the dead hare in Berlin (no. 13) has a vase-mouth differing in form and decoration from those of the rest of the group, and also lacks the distinctive colouring of the ears. It is therefore possible to detach it from the group, and suppose that vases of this type were made in two centres besides Corinth. The Lindos fragments lack ears and vase-mouth, and so cannot be definitely placed. If they go with the Berlin vase, the Italian origin of the rest of the group can still be supported. The Lindos head, however, looks in illustration more like those of the vases in Copenhagen and the Vatican (no. 11) than of that in Berlin, while the latter was found at Vulci, and so formed part of the balance of evidence for an Italian origin. The question remains open, but the probability is that the Lindos fragments belong, and so that the group was not made in Italy.

Intimations of Immortality in the Thought of Jesus: The Ingersoll Lecture for 1959

1960 ◽  
Vol 53 (1) ◽  
pp. 1-26
Author(s):  
Henry J. Cadbury
Keyword(s):  
The Other ◽  
Post Mortem ◽  
The Bible ◽  
Other Hand ◽  
Resurrection Of The Dead ◽  
The Dead ◽  
The Individual ◽  
Immortality Of The Soul ◽  
Technical Terms

The historic Ingersoll lectureship on the Immortality of Man requires of the lecturer both some legitimate extension of its terms and some necessary limitation of his field. One is justified in supposing that the pious layman who planned the foundation was not thinking in highly technical terms, but like laymen of our day was thinking of a widely shared belief in the post mortem survival or revival of those who die. If he had wished to specify the indiscriminate persistence of the individual as a philosophical tenet of the nature of man, he could well have used the more familiar term — the immortality of the soul. On the other hand, if he had wished to be faithful to the wording of much of the Bible and to the Church's creeds, he would have spoken of the Resurrection of the Dead.

scholarly journals Антропология смерти в творчестве Дмитрия Мережковского

2018 ◽  
Vol 167 ◽  
pp. 233-247
Author(s):  
Andrzej Dudek
Keyword(s):  
Human Nature ◽  
The Other ◽  
Fear Of Death ◽  
Dead Body ◽  
Other Hand ◽  
The Dead ◽  
Cultural Forms ◽  
Dmitrii Merezhkovskii

Anthropology of deathin the works by Dmitrii Merezhkovskii Death-related images and thoughts belong to key motives in the works by Dmitrii Merezhkovskii. Biological and metaphysical aspects of death appear to be the most important issues in the analyzed texts. By means of placing plots and themes in various epochs Merezhkovskii revealed the universality of the fear of death and its importance as far as shaping human conscience is concerned. In fictional and essayistic texts either, the Russian writer stressed the importance of the attitude to the dead body, funeral ceremonies and graveyards. That motif focuses value-orien­tations and patterns of culture specific for various communities. Merezhovskii reveals mutual interdependence between death and culture: on one hand — death inspires to express the essence of human nature in cultural forms, on the other hand — death is considered a tool used in order to achieve ideological and political goals. Antropologia śmierciw twórczości Dymitra Mierieżkowskiego Śmierć to jeden z kluczowych motywów twórczości Dymitra Mierieżkowskiego. Wśród różnych obrazów śmierci i myśli o niej w omawianych tekstach istotną rolę odgrywają rozważania o biologicznych i metafizycznych aspektach śmierci. Uniwersalność doświadczenia lęku tanato­logicznego i jego znaczenie dla formowania świadomości człowieka podkreślana jest przez arty­styczne ujęcia ulokowane w kulturowej przestrzeni różnych epok. W utworach beletrystycznych i eseistycznych Mierieżkowskiego szczególne znaczenie mają fragmenty prezentujące rozmaite podejścia do martwego ciała, ceremonii pogrzebowych i cmentarzy. Motywy te ogniskują charak­terystyczne dla różnych zbiorowości orientacje wartościujące i wzory kultury. Między śmiercią i kulturą, jak pokazuje pisarz, istnieje dwustronna zależność: z jednej strony śmierć inspiruje do wyrażenia istoty natury ludzkiej w formach kulturowych, z drugiej — jest wykorzystywana doosiągania celów ideologicznych i politycznych.

scholarly journals Offervilje. Om ret og rimelighed blandt venner og fjender og om at komme og dømme levende og døde i Max Kestners film "I am Fiction"

2013 ◽  
Vol 28 (70) ◽  
Author(s):  
Louise Brix Jacobsen ◽  
Henrik Skov Nielsen ◽  
Rikke Andersen Kraglund
Keyword(s):  
Freedom Of Expression ◽  
Publishing House ◽  
The Other ◽  
The Novel ◽  
Main Character ◽  
Artistic Collaboration ◽  
Other Hand ◽  
The Dead ◽  
The One ◽  
Alleged Victim

Louise Brix Jacobsen, Rikke Andersen Kraglund & Henrik Skov Nielsen: “Selfsacrifice. On Right and Reasonableness among Foes and Friends, and on Judging the Living and the Dead in Max Kestner’s film I am Fiction”In 2011, the performance artist Thomas Skade-Rasmussen Strøbech lost a lawsuit against his former friend and collaborator Helge Bille Nielsen and the publishing house of Gyldendal. This led to a debate about copyright, freedom of expression, identity, and the line between fiction and reality. In 2008, Nielsen or Das Beckwerk published the novel The Sovereign where Strøbech – seemingly without his knowledge and apparently against his will – is the main character. About a year after losing the lawsuit Strøbech and film director Max Kestner gives his version of the events before, during, and after the trial in the film I am Fiction (Identitetstyveriet). This article analyzes I am fiction in order to show how the film on the one hand outlines Strøbech’s version of the events as a story about a victim but on the other hand undermines this version with humor and irony and points towards an artistic collaboration between alleged victim and villain.

scholarly journals Vegetable Decomposition in Ditch Water Simulating Sewage Contamination

1924 ◽  
Vol 22 (4) ◽  
pp. 389-396
Author(s):  
Louis Cobbett
Keyword(s):  
Anaerobic Bacteria ◽  
The Other ◽  
Early Winter ◽  
Other Hand ◽  
Sewage Contamination ◽  
The Dead

In autumn and early winter certain ditches around Cambridge became offensive, and their water turned milky. This led to a grave suspicion of sewage contamination, which, however, was satisfactorily disproved. On the other hand certain bacilli with single flagella were isolated from the water of the ditches and found capable of giving off from their artificial cultures an odour comparable to that of the ditches. And to these bacilli, acting on the dead leaves which found their way into the water, and, probably, in conjunction with other anaerobic bacteria which were generating hydrogen disulphide, the sewage-like odour is attributed.Certain patchy changes of colour in the leaves and wood immersed in the water are attributed to a chromogenic flagellate which was found growing on them.

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