Auswahl der wissenschaftlichen Literatur zum Thema „L Thomasset“

Thomassen [6] conjectured that if I is a set of k−1 arcs in a k-strong tournament T, then T−I has a Hamiltonian cycle. This conjecture was proved by Fraisse and Thomassen [3]. We prove the following stronger result. Let T=(V, A) be a k-strong tournament on n vertices and let X1, X2, [ctdot ], Xl be a partition of the vertex set V of T such that [mid ]X1[mid ][les ][mid ]X2[mid ] [les ][ctdot ][les ][mid ]Xl[mid ]. If k[ges ][sum ] l−1i=1[lfloor ] [mid ]Xi[mid ]/2[rfloor ]+[mid ]Xl[mid ], then T−∪li=1 {xy∈A[ratio ]x, y∈Xi} has a Hamiltonian cycle. The bound on k is sharp.

"When it comes to artifacts, the functional accounts define them as objects that have an intended function. This function is considered essential for them and is used to classify artifacts and differentiate them. However, functional accounts of artifacts face some serious criticism. It seems that a function is neither essential, nor sufficient for an artifact. Thomasson offers a new perspective on artifacts. The author defines artifacts based on their intended feature. A feature may, of course, be a function but does not have to be just that. Generally speaking, intended features are norms of how to treat that specific artifact. Such an account is able to escape the criticism raised against functional accounts. In this article is presented Baker’s functional account of artifacts and some criticism that can be raised for such an account. The second part of the article critically introduces Thomasson’s account for artifacts. The aim of this article is to support Thomasson’s account against a functional perspective. Keywords: artifacts, mind-dependent objects, intended function, natural kinds, intended feature, Amie Thomasson, L. R. Baker"

Species of Labiostrongylus are parasitic in the stomachs of macropodid and potoroid marsupials. The subgenus Labiostrongylus (Labiosimplex) is revised in this paper. The species Labiostrongylus (Labiosimplex) australis, L. (Ls.) bancrofti, L. (Ls.) bipapillosus, L. (Ls.) clelandi, L. (Ls.) communis, L. (Ls.) kungi, L. (Ls.) longispicularis, L. (Ls.) petrogale and L. (Ls.) redmondi are redescribed. L. ualabatus is placed as a synonym of L. (Ls.) clelandi. Twelve new species, L. (Ls.) robustus, sp. nov., L. (Ls.) major, sp. nov., L. (Ls.) occidentalis, sp. nov., L. (Ls.) aridus, sp. nov., L. (Ls.) flanneryi, sp. nov., L. (Ls.) thetidis, sp. nov., L. (Ls.) irma, sp. nov., L. (Ls.) thomasae, sp. nov., L. (Ls.) dendrolagi, sp. nov., L. (Ls.) pearsortensis, sp. nov., L. (Ls.) godmani, sp. nov., and L. (Ls.) laterilabellosus, sp. nov., are described. Labiostrongylus spp. 1–4 from Macropus parma and Lagorchestes hirsutus are discussed but not named and a key to the subgenus is given. A list of macropodid and potoroid hosts of species of Labiostrongylus is provided, and an indication of where further host collection is needed to augment taxonomic work on the genus is given.

ABSTRACT Pulmonary alveolar proteinosis (PAP) is characterized by the accumulation of lipoproteinaceous material within the lung alveoli. Recent studies indicate that PAP is an autoimmune disease characterized by a neutralizing anti-granulocyte macrophage colony stimulating factor (GM-CSF) antibody. At present the only definitive diagnostic test for PAP is open lung biopsy. We have previously published that anti-GM-CSF is diagnostic for PAP and correlates with disease pathogenesis using a traditional serial anti-GM-CSF antibody titer format (T. L. Bonfield, M. S. Kavuru, and M. J. Thomassen, Clin. Immunol. 105:342-350, 2002). Titer analysis is a semiquantitative method, and often subtle changes in antibody titer are not detectable. In this report we present data to support anti-GM-CSF detection by a quantitative highly sensitive multiplexed particle-based assay which has the potential to be a clinical diagnostic test.

This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris.                      To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of  Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study.                                When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus.  A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of  succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809.                                                       Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit.         Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.

The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.