Thematische Bibliographien / Staging history

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Auswahl der wissenschaftlichen Literatur zum Thema „Staging history“

Autor: Grafiati

Veröffentlicht am 2. November 2024

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Zeitschriftenartikel zum Thema "Staging history"

Manchanda, Catharina. „Staging history“. History of Photography 31, Nr. 1 (März 2007): 57–67. http://dx.doi.org/10.1080/03087298.2007.10443502.

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Vandeweghe, Evert. „Staging Urban History“. Environment, Space, Place 3, Nr. 2 (2011): 122–59. http://dx.doi.org/10.7761/esp.3.2.122.

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Ayling, Ronald, und Charles Davidson. „Barrie Stavis: Making History, Staging History“. Cardozo Studies in Law and Literature 2, Nr. 2 (Oktober 1990): 227–56. http://dx.doi.org/10.2307/743337.

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Ayling, Ronald, und Charles Davidson. „Barrie Stavis: Making History, Staging History“. Law & Literature 2, Nr. 2 (September 1990): 227–56. http://dx.doi.org/10.1080/1535685x.1990.11015683.

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Keenan, Tim. „Staging History, 1780-1840“. Restoration and Eighteenth-Century Theatre Research 31, Nr. 1 (2016): 119–23. http://dx.doi.org/10.5325/rectr.31.1.0119.

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Lockwood, Joe. „Staging History 1780–1840“. Bodleian Library Record 29, Nr. 2 (Oktober 2016): 118–23. http://dx.doi.org/10.3828/blr.2016.29.2.118.

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Chaudhari, Mr Rohit Kiran. „Non-Linear Time History Analysis of an Elevated Water Tank“. International Journal for Research in Applied Science and Engineering Technology 9, Nr. VI (30.06.2021): 4327–34. http://dx.doi.org/10.22214/ijraset.2021.35939.

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It was discovered that reinforced concrete elevated water tanks with frame staging outperformed reinforced concrete elevated water tanks with shaft staging in terms of seismic resistance. These can be due to the frame staging's seismic energy absorption capability. As a result, the primary goal of this research is to better understand the seismic behavior and performance characteristics of elevated water tanks with frame staging. Furthermore, when compared to other shapes, circular tanks have the smallest surface area for a given tank size. As a result, the amount of material needed for a circular water tank is less than for other shapes. As a result, a circular water tank was chosen, and seismic analysis of elevated RC circular water tanks was carried out according to IITK-GSDMA guidelines, with the behavior of the water tank analysed for various parameters such as zone factor, soil condition, and different staging heights. SAP 2000 was used to determine the structure's modal characteristics (mode shapes and modal participation mass ratio).

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Žavbi Milojević, Nina. „The classical dramatic text and its value in contemporary theatre“. Journal of Education Culture and Society 4, Nr. 1 (12.01.2020): 228–35. http://dx.doi.org/10.15503/jecs20131.228.235.

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This paper deals with the classical dramatic text and its staging in contemporary theatre. Specifi cally, it aims to show that classical texts can address topical issues. This is illustrated by the example of several stagings of Ivan Cankar’s Hlapci, one of the most infl uential dramatic texts in Slovene literature. The history of this dramatic text is presented from its fi rst publication and reception to the different stagings in various Slovene professional theatres. The focus is on how the situation in Slovene society is refl ected in each examined staging. The drama Hlapci was fi rst staged almost one hundred years ago, when the staging followed closely the dramatic text. However, after 1980 stagings became more independent from the text and more artistic freedom was allowed. The paper will prove that classical dramatic texts are very appropriate for staging in contemporary theatre, especially with an innovative director’s approach.

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Menchaca, Celeste R. „Staging Crossings“. Pacific Historical Review 89, Nr. 1 (2020): 16–43. http://dx.doi.org/10.1525/phr.2020.89.1.16.

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This article examines the dynamic interactions between Mexican women who sought to circumvent their sexual regulation at the U.S.-Mexico border, and U.S. immigration officials who enforced these regulations and policed these women's bodies in the early twentieth century. Using the transcripts of the board of special inquiry (BSI)—a panel that deliberated over the admission of excludable immigrants and oversaw accompanying interrogations—I contend that, while the BSI operated to encode corporeally Mexican female immigrants as sexually deviant, it simultaneously served as a stage for them to respond with their own performances of crossing. In the interrogation room, women performed a slew of admissible identities, including the devoted mother, aggrieved woman, and hard-working laborer. When those attempts to cross failed, women did not simply return home. Instead, many re-crossed until they reached their intended destination. Thus, the BSI served as a site for Mexican female border crossers to both uphold and challenge the production of heteropatriarchal notions of marriage. These findings contribute to the growing literature on U.S. border enforcement in the early twentieth century and uncover the (dis)order of a growing U.S. bureaucratic infrastructure based on sexual and gendered regulation.

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Dissertationen zum Thema "Staging history"

O'Donnell, David O'Donnell, und n/a. „Re-staging history : historiographic drama from New Zealand and Australia“. University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.

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Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama. In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms. Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.

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Newark, Cormac. „Staging grand opera : history and the imagination in nineteenth-century Paris“. Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312922.

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Newark, Cormac. „Staging grand opéra : history and the imagination in nineteenth-century Paris /“. Boston Spa : British thesis service, 1999. http://catalogue.bnf.fr/ark:/12148/cb391434264.

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Schachnow, Ellionore. „The Staging of Nynäs Castle : From Private Home to Museum“. Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193261.

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The thesis examines the reason behind the overtaking of Nynäs castle by the State Art Museums and how Nationalmuseum choose to stage the period rooms during 1984-2020 and how it relates to contemporary trends within museology. Furthermore, the thesis examines possible similarities in how the National Trust stages their historic houses. The thesis emanates from Emma Barker’s art historical approach to critical studies of the historic buildings owned by the Trust and discusses the possibilities and limitations of the historic house museums in the context of house museology. This thesis also discusses the differences between an ethnographic and an art museum in a historic house context and the function of the period room. The State Art Museum managed to receive funds for the acquisition of Nynäs collections through private donations and funds from the State. The original intention was to stage the interior rooms as it was found, and this approach partly resembles the staging of a house owned by the National Trust. This approach was questioned by Nationalmuseum during 2008 and they initiated a project of re-arranging the rooms which resulted in a chronological display. The display of the kitchen and service areas since the opening can relate to a rising interest in New Museology.

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Montez, Noe Wesley. „Staging post-memories commemorative Argentine theatre 1989-2003 /“. [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380115.

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Thesis (Ph.D.)--Indiana University, Dept. of Theatre and Drama., 2009.
Title from PDF t.p. (viewed on Jul 14, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4529. Adviser: Rakesh H. Solomon.

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McFrederick, Matt. „Staging Beckett : a production history of Samuel Beckett's drama in London (1955-2010)“. Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/78067/.

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This study presents the first performance history of Samuel Beckett’s drama in London theatres. The study focuses on a selection of professional productions of Beckett’s dramatic canon and assesses the impact these performances had on London and British theatre cultures between 1955 and 2010. Since the British premiere of Waiting for Godot, Beckett’s oeuvre has been staged across a variety of London theatres and contexts, ranging from the Riverside Studios in Hammersmith to the Theatre Royal Stratford East. The performance histories of Beckett’s plays represent a neglected facet of Beckett studies, but through research undertaken for the Staging Beckett Database – a searchable data model for Beckett performances staged in the UK and Ireland – a broad tradition of staging Beckett in the British Isles has been discovered. Through the support of these records, performance histories, theatre historiography and performance archives, the study shows how Beckett’s drama featured in key London theatres during prominent moments in British theatre history in a series of landmark and lesser known productions and seasons. By means of a chronological structure, this account examines the factors that contributed to Beckett’s role in metropolitan theatre cultures, discussing how his theatre was created and received and the legacies or significance of his drama on the city’s theatrical landscape. Beckett’s evolving stature and the multifunctional role he played in London theatre cultures is reflected in the four chapters that investigate the history. Chapters one and two reveal the key partnerships he established in theatres such as the English Stage Company at the Royal Court and the National Theatre, and the eclectic range of performances from the international productions during the World Theatre Seasons to the multiple presentations of his drama for young theatregoers at the newly started Young Vic. Chapter three examines the development of Beckett’s practice through some of his last productions staged or rehearsed at the Royal Court, Riverside Studios and the National Theatre. The final chapter discusses performances post-Beckett, when his drama proliferated across London, from West End productions with star actors to Festivals celebrating his entire canon.

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Bailie, Lindsey Leigh. „Staging Privacy: Art and Architecture of the Palazzo Medici“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11049.

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xii, 112 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The Palazzo Medici was a site of significant social and political representation for the Medici. Access to much of the interior was limited, ostensibly, to the family. In republican Florence, however, visitors were a crucial component in the maintenance of a political faction. Consequently, the "private" spaces of the Palazzo Medici were designed and decorated with guests in mind. Visitor accounts reveal that the path and destination of each visitor differed according to his status and significance to the family. The common citizen waited, sometimes for great lengths, in the courtyard, taking in the anti-tyrannical message of the space. The privileged guest, who had more to provide the Medici, was given access to the more private spaces of the residence. Surrounded by art and architecture that demonstrated the faith, education, and wealth of the Medici, he was assured that his support of the family was beneficial to his own pursuits.
Committee in charge: James Harper, Chairperson; Jim Tice, Member; Jeff Hurwit, Member

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Demetriou, P. A. „An exhibition of hidden stories : investigating methods of staging and performing oral history archives“. Thesis, University of Bristol, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.701830.

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Lee, Melissa. „Staging the Actress: Dramatic Character and the Performance of Female Identity“. The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397823196.

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Dyson, Jessica. „Staging legal authority : ideas of law in Caroline drama“. Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/366.

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This thesis seeks to place drama of the Caroline commercial theatre in its contemporary political and legal context; particularly, it addresses the ways in which the struggle for supremacy between the royal prerogative, common law and local custom is constructed and negotiated in plays of the period. It argues that as the reign of Charles I progresses, the divine right and absolute power of the monarchy on stage begins to lose its authority, as playwrights, particularly Massinger and Brome, present a decline from divinity into the presentation of an arbitrary man who seeks to impose and increase his authority by enforcing obedience to selfish and wilful actions and demands. This decline from divinity, I argue, allows for the rise of a competing legitimate legal authority in the form of common law. Engaging with the contemporary discourse of custom, reason and law which pervades legal tracts of the period such as Coke’s Institutes and Reports and Davies’ ‘Preface Dedicatory’ to Le Primer Report des Cases & Matters en Ley resolues & adiudges en les Courts del Roy en Ireland, drama by Brome, Jonson, Massinger and Shirley presents arbitrary absolutism as madness, and adherence to customary common law as reason which restores order. In this climate, the drama suggests, royal manipulation of the law for personal ends, of which Charles I was often accused, destabilises law and legal authority. This destabilisation of legal authority is examined in a broader context in plays set in areas outwith London, geographically distant from central authority. The thesis places these plays in the context of Charles I’s attempts to centralise local law enforcement through such publications as the Book of Orders. When maintaining order in the provinces came into conflict with central legislation, the local officials exercised what Keith Wrightson describes as ‘two concepts of order’, turning a blind eye to certain activities when strict enforcement of law would create rather than dissolve local tensions. In both attempting to insist on unity between the centre and the provinces through tighter control of local officials, and dividing the centre from the provinces in the dissolution of Parliament, Charles’s government was, the plays suggest, in danger not only of destabilising and decentralising legal authority but of fragmenting it. This thesis argues that drama provides a medium whereby the politico-legal debates of the period may be presented to, and debated by, a wider audience than the more technical contemporary legal arguments, and, during Charles I’s personal rule, the theatre became a public forum for debate when Parliament was unavailable.

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Bücher zum Thema "Staging history"

Mariko, Ichikawa, Hrsg. Staging in Shakespeare's theatres. Oxford: Oxford University Press, 2000.

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Hedges, Inez. Staging History from the Shoah to Palestine. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84009-9.

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Oesmann, Astrid. Staging history: Brecht's social concepts of ideology. Albany: State University of New York Press, 2005.

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1957-, Marra Kim, und Schanke Robert A. 1940-, Hrsg. Staging desire: Queer readings of American theater history. Ann Arbor: University of Michigan Press, 2002.

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Pavlovich, Chekhov Anton. Staging Chekhov: Cherry orchard. New York, NY: Published by Institute for Advanced Studies in the Theatre Arts Press in association with Florida Keys Community College, 1991.

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Guhl, Anton, und Gisela Hürlimann, Hrsg. Inszenierte Geschichte | Staging History. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110731378.

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Staging History: 1780-1840. Bodleian Library, University of Oxford, 2017.

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Staging masculinities: History, gender, performance. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2003.

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Komporaly, Jozefina. Staging Motherhood. Palgrave Macmillan, 2014.

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Staging whiteness. Middletown, Conn: Wesleyan University Press, 2005.

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Buchteile zum Thema "Staging history"

Roberts, David. „Performance History“. In Staging Restoration Comedy, 35–79. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-52209-3_4.

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Adelsheim, Ryan. „Staging the Queer Archive“. In Dramaturgy and History, 60–67. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032636337-11.

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Lawrence, Conan, und Dan Ellin. „After Them, The Flood: Remembering, Performance and the Writing of History“. In Staging Loss, 109–25. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97970-0_7.

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Pulford, Donald. „Andrew Bovell in the History Wars: Australia’s Continuing Cultural Crisis of Remembering and Forgetting“. In Staging Loss, 95–107. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97970-0_6.

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Veyrat-Masson, Isabelle. „Staging Historical Leaders on French Television“. In Televising History, 95–106. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230277205_7.

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Baim, Clark. „History: An Archeology of the Theater of Personal Stories“. In Staging the Personal, 19–64. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46555-1_2.

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Carney, Megan. „Staging generations of queer history“. In Applied Theatre with Youth, 133–37. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003039419-25.

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Meerzon, Yana. „Tragedy and the Crisis of History“. In Staging 21st Century Tragedies, 13–26. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003046479-3.

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Gehrenbeck, Lupe, und Emiliana Duarte. „Aoidoi of a Country's Living History“. In Staging 21st Century Tragedies, 199–205. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003046479-19.

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Gouyon, Jean-Baptiste. „‘You Can’t Make a Film About Mice Just by Going Out into a Meadow and Looking at Mice’: Staging as Knowledge Production in Natural History Film-making“. In Staging Science, 83–103. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-49994-3_5.

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Konferenzberichte zum Thema "Staging history"

Altshuler, Joseph. „Re-staging Oskar Schlemmer“. In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.40.

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“The history of the theater is the history of the transfigura¬tion of the human form. It is the history of man as the actor of physical and spiritual events, ranging from naiveté to reflection, from naturalness to artifice. The materials involved in this transfiguration are form and color, the materials of the painter and sculptor. The arena for this transfiguration is found in the constructive fusion of space and building, the realm of the architect.”—Oskar Schlemmer1

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Moore, A., A. Brennan, M. Ledwidge und K. McDonald. „17 The natural history and staging of pre-clnical heart failure“. In Irish Cardiac Society Annual Scientific Meeting & AGM (Virtual), October 7th – 9th 2021. BMJ Publishing Group Ltd and British Cardiovascular Society, 2021. http://dx.doi.org/10.1136/heartjnl-2021-ics.17.

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Babushkina, P. V. „STAGING DOSTOEVSKY’S NOVEL «THE IDIOT» BY V. KRYLOV AND G. SUTUGIN: HISTORY OF THE PLAY, SPECTACLES AND THE CRITICS“. In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-98.

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Sayono, Joko, Ronal Ridhoi, Lutfiah Ayundasari und Muhammad Wahyu Prahardana. „Staging Local Art: Transnational History of Ketoprak Rukun Karya in Outer Island Madura in The Age of Globalization“. In International Joint Conference on Arts and Humanities 2021 (IJCAH 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211223.128.

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Machado, Samira Juliana de Moraes, Renato Cagnacci Neto, Marina Sonagli, Hirofumi Iyeyasu und Fabiana Baroni Alves Makdissi. „ANALYTICAL CROSS-SECTIONAL STUDY TO ASSESS THE IMPACT OF THE COVID-19 PANDEMIC ON THE STAGING OF BREAST CANCER PATIENTS“. In XXIV Congresso Brasileiro de Mastologia. Mastology, 2022. http://dx.doi.org/10.29289/259453942022v32s1003.

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Introduction: We are currently living in a state of pandemic by COVID-19, whose virus has high transmissibility and potential lethality. The World Health Organization recommended social isolation, and the Brazilian National Cancer Institute, following this guidance, proposed that the oncological treatment of low-to-moderate aggressive tumors be postponed, including breast cancer. In Brazil, the lockdown was a strategy to reduce the potential impact of the pandemic on health services; consequently, asymptomatic patients postponed their imaging tests this year. Considering this abrupt change in access to health care and in the routine of cancer screening, we theorize that the COVID-19 pandemic may have had a negative impact on diagnosis, treatment, and survival in breast cancer patients. Objective: The aim of this study was to analyze the staging at diagnosis of patients with breast cancer, before and during the pandemic, and to calculate if there was a statistical difference comparing the two groups studied. A secondary objective was to describe clinical and demographic characteristics. Methods: A single-center, cross-sectional analytical study with 1219 patients diagnosed with breast cancer (CID C50 or D05) treated at the Mastology Department of the AC Camargo Cancer Center from March 2019 to February 2021. The following epidemiological variables were evaluated: age at years at diagnosis, clinical staging at diagnosis (TNM 8th edition©), presence of comorbidities (risk group for severe COVID-19), family history of cancer, symptoms at diagnosis, and provenance. Descriptive variables and data analysis was performed using Pearson’s χ2 test or Fisher’s exact test. Results: In this study, 1002 patients were included, divided into two groups: prepandemic (574) and pandemic (428). Both groups had similar demographic and clinical characteristics. There was an increase in the frequency of symptomatic patients in the pandemic period 199 (46.5%) versus nonpandemic period 213 (37.1%) (p=0.003). Anatomical and clinical staging were similar between the groups, with no statistically significant difference. When analyzing the anatomical staging, comparing the prepandemic versus pandemic groups, we observed a higher frequency of tumors: T1 [262 (45.6%) vs. 170 (39.8%), p=0.376]; N0 [398 (69.2%) vs. 288 (67.4%), p=0.194]; M0 [552 (96.0%) vs. 415 (97.2%), p=0.614]. Regarding clinical staging, early malignant tumors (EC Tis, Ia–IIIa) were more frequent, corresponding to 521 (90.8%) prepandemic versus 390 (91.1%) pandemic (p=0.766). Conclusion: There was no significant variation between the groups in terms of staging at diagnosis, but more patients with symptoms related to breast cancer sought cancer care.

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Paiva, Jorge Luiz Firmo de, Ana Carolina Betto Castro, Helena Varago Assis, Fernando Aparecido Pazini und Marcel Arouca Domeniconi. „MALE BREAST CANCER CASE REPORT OF AN INVASIVE CARCINOMA OF A NONSPECIAL AND INVASIVE DUCTAL TYPE 2 IN A MALE PATIENT“. In XXIV Congresso Brasileiro de Mastologia. Mastology, 2022. http://dx.doi.org/10.29289/259453942022v32s1054.

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Male breast cancer (MMC) corresponds to 0.5% of cases of malignant neoplasms in men. Among the associated risk factors are black ethnicity, age over 60 years, family history, BRCA1 and BRCA2 gene mutations, Klinefelter syndrome, the use of exogenous estrogen, gynecomastia, obesity, and a history of chest radiation. Regarding diagnosis and treatment, the standard trend for female breast cancer is still followed, with few studies in men. We report the case of an 81-yearold black patient with few risk factors exposed in the literature. On physical examination at entry, he presented an exophytic lesion in the right breast and palpable and hardened lymph nodes in the right axillary region. With an established diagnosis of nonspecial type invasive carcinoma and invasive ductal carcinoma without other specifications by previous biopsy, a modified right radical mastectomy was performed with right axillary dissection and according to the pathological examination with pT4b pN1 pMx staging. Thus, as a result of the good evolution of the condition, the patient was discharged 2 days after the surgery to the oncology clinic, in order to monitor the condition.

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Chandra, Varkha, Sandhya Jain, Neerja Goel, Bindia Gupta und Shalini Rajaram. „Multiple recurrence of granulosa cell tumor of the ovary: A case report and literature review“. In 16th Annual International Conference RGCON. Thieme Medical and Scientific Publishers Private Ltd., 2016. http://dx.doi.org/10.1055/s-0039-1685319.

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Introduction: Granulosa cell tumors comprise approximately 5% of all ovarian malignancy and account for 70% of malignant sex cord stromal tumors. Granulosa cell tumors have been diagnosed from infancy, the peak incidence being perimenopausal age. The potential of malignancy of these tumors is low, recurrences are often late and found in 10-33% of cases. Case Report: A 32-year-old P1L1 presented with large abdominal mass for which she underwent staging laparotomy with debulking surgery. She was a known case of granulosa cell tumor in the past and had undergone three laparotomies, along with chemotherapy. At the age of 13 yrs, she was diagnosed with a stage IA granulosa cell tumor (GCT) of the ovary first time. She underwent surgical staging and removal of left sided adnexal mass, after which she was asymptomatic for 7 years. In 2003 she again presented with lump abdomen for which she underwent resection of adnexal mass, histopathology was consistent with recurrent GCT. After second surgery she also received two cycles of chemotherapy. Despite adjuvant chemotherapy, patient presented again after three years in 2006 with adnexal mass and was found to have a third recurrence. At that time, she received 6 cycles of chemotherapy and the mass regressed. Meanwhile she got married and had one child. After four year in 2010 she again presented with lump abdomen and she underwent surgical staging, total abdominal hysterectomy with right salphingo ophorectomy along with removal of mass. After five year in 2015 she again presented with lump abdomen; there was a large pelvic mass which was removed and patient referred for chemotherapy. Discussion: GCTS which a rare malignant tumors of ovary tend to be associated with late recurrences. Although most recurrences occurs within 10 years after initial diagnosis, there are occasional reports of recurrences after10 years. We experienced the rare case of a patient who relapsed multiple times over 20 years, despite surgical and targeted treatment. Conclusion: The long history of granulosa cell tumor highlights the importance of extended follow up of the patient.

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Introduction: Granulosa cell tumors comprise approximately 5% of all ovarian malignancy and account for 70% of malignant sex cord stromal tumors. Granulosa cell tumors have been diagnosed from infancy, the peak incidence being perimenopausal age. The potential of malignancy of these tumors is low, recurrences are often late and found in 10-33% of cases. Case Report: A 32-year-old P1L1 presented with large abdominal mass for which she underwent staging laparotomy with debulking surgery. She was a known case of granulosa cell tumor in the past and had undergone three laparotomies, along with chemotherapy. At the age of 13 years, she was diagnosed with a stage IA granulosa cell tumor (GCT) of the ovary first time. She underwent surgical staging and removal of left sided adnexal mass, after which she was asymptomatic for 7 years. In 2003 she again presented with lump abdomen for which she underwent resection of adnexal mass, histopathology was consistent with recurrent GCT. After second surgery she also received two cycles of chemotherapy. Despite adjuvant chemotherapy, patient presented again after three years in 2006 with adnexal mass and was found to have a third recurrence. At that time, she received 6 cycles of chemotherapy and the mass regressed. Meanwhile she got married and had one child. After four year in 2010 she again presented with lump abdomen and she underwent surgical staging, total abdominal hysterectomy with right salphingo ophorectomy along with removal of mass. After five year in 2015 she again presented with lump abdomen; there was a large pelvic mass which was removed and patient referred for chemotherapy. Discussion: GCTS which a rare malignant tumors of ovary tend to be associated with late recurrences. Although most recurrences occurs within 10 years after initial diagnosis, there are occasional reports of recurrences after10 years. We experienced the rare case of a patient who relapsed multiple times over 20 years, despite surgical and targeted treatment. In conclusion the long history of granulosa cell tumor highlights the importance of extended follow up of the patient.

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Liu, Yuan, Jian Li, Qihong Lei, Tongwu Zhang, Youan He, Yin Luo, Fujian Ma und Bo Wang. „Pattern Fracturing: Concept, Simulation, and Case History of Platform-Based Completion and Fracturing Optimization“. In SPE International Hydraulic Fracturing Technology Conference and Exhibition. SPE, 2023. http://dx.doi.org/10.2118/215651-ms.

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Abstract Inspired by the success of North American unconventional resources, many shale oil operators in China adopted the intensive completion and fracturing practice for field development. The intention of the aggressive scheme was to improve individual well productivity as well as the ultimate recovery. Similar to the shale oil counterpart in North America, however, frequent frac hits have been reported in the recent years, and the increase of the engineering parameters has not always increased field productivity. Based on geo-engineering work in Ordos basin, we developed and tested an innovative strategy, pattern fracturing, to solve this issue, and it proved to be an effective and low-cost completion and fracturing optimization method for reservoir management. Pattern fracturing differs from the previous field practice by dividing pad wells into two groups, each with a distinctive strategy for the job design and execution sequence. One group is defined as energy charger (EC) and the other as reinforced producer (RP). EC wells adapt to the large-volume high-rate fracturing practice to maintain the long-term reservoir pressure. The RP wells adapted to an intensive staging with low-volume low-rate fracturing practice, which aims to create a better near-wellbore flowing environment. EC wells are to be completed earlier than the RP wells, so that the RP well engineering parameters can use the previous monitoring and observation as a reference. Essentially, pattern fracturing is a platform-based reservoir management approach. Pattern fracturing was evaluated with reservoir simulation for validity and then put into practice in a five-well testing site on platform-A in Ordos basin. The result from the pattern fracturing trial was encouraging. In addition to the lower horsepower consumption, the higher efficiency of job execution, and fewer perceived frac hits from offset wells, the production performance from platform-A showed positive results in both EC and RP wells. This indicates that by assigning the wells into different groups and refining the strategy and design for each of group, there is a good chance of improving the productivity with less cost. Pattern fracturing is an innovative completion and fracturing optimization approach with reservoir management purposes used in horizontal well groups, particularly fit for the scenario of unconventional resources.

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Dehnke, Lynnette M., Ranjeet R. Hogade und Jose M. Castro. „Technical Feasibility of a New Solventless Approach to Manufacture Pre-Pregs and Laminates for Electronic Applications“. In ASME 2000 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/imece2000-1489.

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Abstract This study refers to the technical feasibility of a continuous process for manufacturing pre-pregs and copper-clad laminates for electronic applications, with the aim to overcome three critical technological challenges, the elimination of environmentally detrimental solvents, elimination of voids and elimination of cure/temperature history variability between laminates. The new approach is based on the concept of injection pultrusion or continuous RTM. The centerpiece of the process is the impregnation die. Glass fabric and resin are fed into the die where impregnation and depending of the design, partial reaction occurs. The B-staging, if not finished in the die, will be done in an oven located immediately after. The final cure and lamination occurs in a continuous belt clamp. In the present paper, we discuss the chemo-rheology of a potential resin system and use it to establish the technical feasibility of the process.

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