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Roseanne Dumpe
I approach my abstract paintings with no specific idea. I take time to develop rich surfaces and textures with layers of transparent colors and other techniques. I make marks, spots, scribbles, and lines in color, sometimes adding other materials. These images may or may not be representational. They may or may not be fragments of memory. They are invented spontaneously and intuitively as each painting is created.
Objectives-The aim of this study was to determine the intra- and inter-rater reliability of sonographic measurements of the median nerve cross-sectional area in individuals with carpal tunnel syndrome and healthy control participants.Methods-The median nerve cross-sectional area was evaluated by sonography in 18 participants with carpal tunnel syndrome (18 upper extremities) and 9 control participants (18 upper extremities) at 2 visits 1 week apart. Two examiners, both blinded to the presence or absence of carpal tunnel syndrome, captured independent sonograms of the median nerve at the levels of the carpal tunnel inlet, pronator quadratus, and mid-forearm. The cross-sectional area was later measured by each examiner independently. Each also traced images that were captured by the other examiner.Results-Both the intra- and inter-rater reliability rates were highest for images taken at the carpal tunnel inlet (radiologist, r = 0.86; sonographer, r = 0.87; inter-rater, r = 0.95; all P < .0001), whereas they was lowest for the pronator quadratus (r = 0.49, 0.29, and 0.72, respectively; all P < .0001). At the mid-forearm, the intra-rater reliability was lower for both the radiologist and sonographer, whereas the inter-rater reliability was relatively high (r = 0.54, 0.55, and 0.81; all P < .0001). Tracing of captured images by different examiners showed high concordance for the median cross-sectional area at the carpal tunnel inlet (r = 0.96-0.98; P < .0001).Conclusions-The highest intra- and inter-rater reliability was found at the carpal tunnel inlet. The results also demonstrate that tracing of the median nerve cross-sectional area from captured images by different examiners does not contribute significantly to measurement variability.
Abstract. The article is devoted to two novels by Walter Scott in which the writer demonstrates his vision of the late Middle Ages having taken France and Scotland as bright examples. In these works, Scott, both at the level of the general concept, which reflects his understanding of historical progress, and at the level of the images of the novels and their narratives, reconstructs socio-political and moral-psychological role of the standoff between chivalry and town communities in the dynamic of the time. The novels convincingly show the peculiarity of the late stage of Scott's creative work, when the narrative importance of the love-adventure knot in the plot increases, as does the role of real historical figures. In the after 1819 Scott's novel, more obvious is the writer's desire to embody his understanding of historical laws, based on a mixture of conservative and progressive assessments of the dynamics of history. He does it with the help of both the narrator's comments and digressions, often constructed as a talk between a historian, an expert in the times under analysis, and a reader, and the central images of the novels. For the ideological and artistic wholeness of the works, the collective images of Liege and Perth, presented by means of a 'general plan' and bright individualized images of citizens, are fundamentally important. Colourful and at the same time super important for the historisophical idea of the novels are the images of the 'outgoing class' - chivalry: in each of them, the degree of 'falling out' of the dynamics of history is emphasized and becomes character-forming. At the same time, the article accentuates, especially in The Fair Maid of Perth, the author's idea of changing not only economic but also moral leader in the late Middle Ages: the defining role is gradually passed on to the townspeople. In this respect, the image of Catharine Glover, the titular heroine, acts in the novel as the writer's 'Reasoner'. The article also traces the nature of the coexistence of romantic and adventurous (in relation to the novel about Perth - romantic and Gothic) and socio-psychological principles of creating the 'image of the era'.
two highland clans on the Inch of Perth in front of King Robert III, his court and the crowds of townsmen; the battle which, according to Scott, meant the decline of the original culture of the Highlands, that formed the basis of Scottishness. The image of Con-achar, a young highlander fleeing from the battlefield of two clans, is a metaphorical embodiment of this idea. No doubt, to express more clearly his sorrow, Scott deliberately chooses the scene of the funeral of Conachar's father, chief of the Clan Quhele, to give his usual ethnographical account of the Highlands customs and traditions. In Chapter XXIX Glover becomes the witness of the dramatic talk of Conachar (Eachin MacIan), the young Quehele clan chief, with his mentor Torquil about the future battle of two clans and Conachar's premonition of great tragedy as the end of it. Glover, previously prejudiced against Highlanders, is amazed by the sincerity of feelings of the two and concludes:
One of the marks of this narrative atmosphere which is rather new for Scott is a remarkable turn of the plot in The Fair Maid of Perth. Usually in Scott's novel a very important role is played by a comic plot line, which brings into the narrative the feeling of living life; it is enough to remember Gurth, Wamba and Friar Tuck in Ivanhoe, Cuddie Headrigg in Old Mortality (1816), Andrew Fairservice in Rob Roy (1817), the semi-comic personages, they are very close to earthly life and the practical side of it. Such a plot line and such personages show Scott's mastery in realistic reconstruction of the time, its morals and its everyday flow; they enliven the narrative and deprive it of excessive pathos. In the novel under analysis this realistically comic personage is the hatter Oliver Proudfute, who sets off the image of Henry Smith in a peculiar way being practically his contrast in all, to start with the appearance up to behavior, especially when it comes to non-ostentatious bravery and courage. These contrasts bring vitality to both images. While in other Scott's novels, this comico-realistic line is preserved
In this respect the image of Henry Smith is very emblematic: his craftsman's behaviour is not at all less noble than that of knights and courtiers, and he embodies a new type of nobility and chivalry of universal, not of class, origin. And his risky decision to replace one of the Highlanders on the battlefield of two clans only seems to be a continuation of his inherent militancy, fervently condemned by Catharine. It is something new in him and in a town community: after all, if the battle does not take place, then the enmity of the clans, which brings so much trouble to the Highlanders and Lowlanders, to whole Scotland, will not end. Remarkably, Con-achar flees the battlefield, not daring to fight it just with Smith, his rival in love with Catharine. To a great extent, Henry Smith is Scott's traditional 'middle hero' which usually in terms of plot belongs to both conflicting forces of the novel or 'exists' above the collision.
The images of Catharine, Glover, Smith, Roth-say, Conachar, etc. should be looked at in the context of the type of Walter Scott's historism with the roots in German historical thought and its dominant idealistic concept: the basis of historical progress is improvement of moral and ethical standards and the growth of the spirituality of society. The latter Scott does not at all connect with religion and church: it is obvious in both novels under consideration; in Quentin Durward and in The Fair Maid of Perth the church fails in carrying spiritual leadership in the given fictional situations; and it corresponds with church's decreasing role in the life of medieval town communities in the XIII-XIV century, as historians