Academic literature on the topic 'McAuley'

Abstract Objective: Insulin resistance has been shown to be a risk factor for type 2 diabetes and cardiovascular disease. The assessment of insulin sensitivity in the clinical practice, however, faces several difficulties. The study proposes to analyze surrogate measures of insulin resistance based on fasting insulin levels in central Romania, and check whether the diagnosis of the metabolic syndrome is an adequate strategy to identify middle-aged persons with reduced insulin sensitivity. Methods: Anthropometric measurements, metabolic profile, and surrogates measures of insulin sensitivity (GIR, HOMA, QUICKI, FIRI, Belfiore, Bennett, Raynaud, McAuley index) based on fasting insulin levels were assessed in 233 non-diabetic middle aged subjects. Results: Cutoff values, determined as the lowest quartile of insulin sensitivity for fasting insulin, HOMA, IRI (1/QUICKI), FIRI and Belfiore's, Bennett's, Raynaud's and McAuley's insulin sensitivity indices were 10.49 mU/L, 2.1, 3.01, 2.32, and 0.03, 1.34, 3.81, 6.29, 5.82. Components of the metabolic syndrome showed moderate but significant correlations with the surrogate measures of insulin resistance (r = 0.22-0.56, p <0.05). HOMA-IR and McAuley indices were the best predictors of clustered cardiometabolic risk factors (AUC - 0.83, 0.81 and 0.82). The metabolic syndrome diagnosis performed well in identifying patients with reduced insulin sensitivity (McAuley 2: sensitivity - 0.78, specificity - 0.84). Conclusion: Fasting insulin derived insulin sensitivity indices may help the recognittion of insulin resistant states predicting cardiometabolic disorders. Actively looking for insulin resistance by these simple indices, or by diagnosing the metabolic syndrome, those at increased risk can be recognized

Mairéad McAuley frames her substantial study of the representation of motherhood in Latin literature in terms of highly relevant modern concerns, poignantly evoked by her opening citation of Eurydice's lament at her baby's funeral in Statius’ Thebaid 6: what really makes a mother? Biology? Care-giving? (Grief? Loss? Suffering?) How do the imprisoning stereotypes of patriarchy interact with lived experiences of mothers or with the rich metaphorical manifestations of maternity (as the focus of fear and awe, for instance, or of idealizing aesthetics, of extreme political rhetoric, or as creativity and the literary imagination?) How do individuals, texts, and societies negotiate maternity's paradoxical relationship to power? Conflicting issues of maternal power and disempowerment run through history, through Latin literature, and through the book. McAuley's focus is the representational work that mothers do in Latin literature, and she pursues this through close readings of works by Ovid, Virgil, Seneca, and Statius, by re-reading their writings in a way that privileges the theme, perspective, or voice of the mother. A lengthy introduction sets the parameters of the project and its aim (which I judge to be admirably realized) to establish a productive dialogue between modern theory (especially psychoanalysis and feminist philosophy) and ancient literature. Her study evokes a dialogue that speaks to theory – even contributes to it – but without stripping the Latin literature of its cultural specificity (and without befuddling interpretation of Latin culture with anachronism and jargon, which is often the challenge). The problem for a Latinist is that psychoanalysis is, as McAuley says, ‘not simply a body of theories about human development, it is also a mode of reading’ (23), and it is a mode of reading often at cross-purposes with the aims of literary criticism in Classical Studies: psychoanalytical notions of the universal and the foundational clash with aspirations to historical awareness and appreciation of the specifics of genre or historical moment. Acknowledging – and articulating with admirable clarity and honesty – the methodological challenges of her approach, McAuley practises what she describes as ‘reading-in-tension’ (25), holding on not only to the contradictions between patriarchal texts and their potentially subversive subtexts but also to the tense conversation between modern theory and ancient literary representation. As she puts it in her epilogue, one of her aims is to ‘release’ mothers’ voices from the pages of Latin literature in the service of modern feminism, while simultaneously preserving their alterity: ‘to pay attention to their specificity within the contexts of text, genre, and history, but not to reduce them to those contexts, in order that they speak to us within and outside them at the same time’ (392). Although McAuley presents her later sections on Seneca and Statius as the heart of the book, they are preceded by two equally weighty contributions, in the form of chapters on Virgil and Ovid, which she rightly sees as important prerequisites to understanding the significance of her later analyses. In these ‘preliminary’ chapters (which in another book might happily have been served as the main course), she sets out the paradigms that inform those discussions of Seneca and Statius’ writings. In her chapter on Virgil McAuley aims to transcend the binary notion that a feminist reading of epic entails either reflecting or resisting patriarchal values. As ‘breeders and mourners of warriors…mothers are readily incorporated into the generic code’ of epic (65), and represent an alternative source of symbolic meaning (66). Her reading of Ovid's Metamorphoses then shows how the poem brings these alternative subjects into the foreground of his own poetry, where the suffering and passion of mothers take centre-stage, allowing an exploration of imperial subjectivity itself. McAuley points out that even feminist readings can often contribute to the erasure of the mother's presence by their emphasis on the patriarchal structures that subjugate the female, and she uses a later anecdote about Octavia fainting at a reading of the Aeneid as a vivid illustration of a ‘reparative reading’ of Roman epic through the eyes of a mother (91–3). Later, in her discussion of mothers in Statian epic, McAuley writes: ‘mothers never stand free of martial epic nor are they fully constituted by it, and, as such, may be one of the most appropriate figures with which to explore issues of belatedness and authority in the genre’ (387). In short, the discourse of motherhood in Latin literature is always revealed to be powerfully implicated in the central issues of Roman literature and culture. A chapter is devoted to the themes of grief, virtue, and masculinity as explored in Seneca's consolation to his own mother, before McAuley turns her attention to the richly disturbing mothers of Senecan tragedy and Statius’ Thebaid. The book explores the metaphorical richness of motherhood in ancient Rome and beyond, but without losing sight of its corporeality, seeking indeed to complicate the long-developed binary distinction between physical reproduction (gendered as female) and abstract reproduction and creativity (gendered as male). This is a long book, but it repays careful reading, and then a return to the introduction via the epilogue, so as to reflect anew on McAuley's thoughtful articulation of her methodological choices. Her study deploys psychoanalytical approaches to reading Latin literature to excellent effect (not an easy task), always enhancing the insights of her reading of the ancient texts, and maintaining lucidity. Indeed, this is the best kind of gender study, which does not merely apply the modern framework of gender and contemporary theoretical approaches to ancient materials (though it does this very skilfully and convincingly), but in addition makes it clear why this is such a valuable endeavour for us now, and how rewarding it can be to place modern psychoanalytic theories into dialogue with the ancient Roman literature. The same tangle of issues surrounding maternity as emerges from these ancient works often persists into our modern era, and by probing those issues with close reading we risk learning much about ourselves; we learn as much when the ancient representations fail to chime with our expectations.

The use of tacrolimus (Tac) may be involved in the development of new-onset diabetes after transplantation (NODAT) in a dose-related manner. This study aimed to evaluate the effects of a standard twice-daily formulation of Tac (TacBID) vs. the once-daily slow-release formulation (TacOD) on the basal insulin resistance indexes (Homa and McAuley), and related metabolic parameters, in a cohort of kidney transplant patients. We retrospectively evaluated 20 stable renal transplant recipients who were switched from TacBID to TacOD. Blood levels of Tac were analyzed at one-month intervals from 6 months before to 8 months after conversion. Moreover, Homa and McAuley indexes, C-peptide, insulin, HbA1c, uric acid, triglycerides, low-density lipoprotein (LDL) and high-density lipoprotein (HDL)-cholesterol serum levels and their associations with Tac levels were evaluated. We observed a significant decrease in Tac exposure (8.5 ± 2 ng/mL, CV 0.23 vs. 6.1 ± 1.9 ng/mL, CV 0.31, TacBID vs. TacOD periods, p < 0.001) and no significant changes in Homa (1.42 ± 0.4 vs. 1.8 ± 0.7, p > 0.05) and McAuley indexes (7.12 ± 1 vs. 7.58 ± 1.4, p > 0.05). Similarly, blood levels of glucose, insulin, HbA1c, lipids, and uric acid were unchanged between the two periods, while C-peptide resulted significantly lower after conversion to TacOD. These data suggest that in kidney transplant recipients, reduced Tac exposure has no significant effects on basal insulin sensitivity indexes and metabolic parameters.

While considering the work of James McAuley, Francis Webb and Vincent Buckley, this thesis concentrates on the religious character of their poetry. Since it assumes that religious language is primarily metaphorical (as distinct from dogmatic), the thesis describes the poetry by way of its religio-imaginative relationships and structures. James McAuley's poetry is religious, not so much because it is Catholic, as because it voyages between despair and hope, believing always in the reasoned will. Francis Webb's poetry, continually discovering glory in dereliction, dramatises the revelatory and redeeming power of the rejected ones - and so works within the 'Suffering Servant' model of 'Isaiah'. While Vincent Buckley's poetry gradually abandons Catholic language in favour of its own 'idiom of sensation', the religious quality of that sensation is discovered more in liminal than in paradisal possibilities - in the way 'holy spaces' are always in some sense expatriate ones. Since each of these poets belongs in the period of Vatican II Catholicism, the thesis next relates their work to that context. Here, however, it searches for imaginative connections and disconnections by setting up its comparison on the basis, not of dogmas, but of models. Finally, the thesis interprets Webb's 'Eyre All Alone' as a search for renewed religious language, returning to its opening assumption that religious language is primarily metaphorical.

Thesis (Ph. D.)--University of Sydney, 1989.
Title from title screen (viewed Apr. 15, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 1989; thesis submitted 1988. Includes bibliography. Also available in print form.

Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2005.
Includes bibliographical references (leaves 95-98).
The current method for phonetic landmark detection in the Spoken Language Systems Group at MIT is performed by SUMMIT, a segment-based speech recognition system. Under noisy conditions the system's segmentation algorithm has difficulty distinguishing between noise and speech components and often produces a poor alignment of sounds. Noise robustness in SUMMIT can be improved using a full segmentation method, which allows landmarks at regularly spaced intervals. While this approach is computationally more expensive than the original segmentation method, it is more robust under noisy environments. In this thesis, we explore a landmark detection and segmentation algorithm using the McAulay-Quatieri Sinusoidal Model, in hopes of improving the performance of the recognizer in noisy conditions. We first discuss the sinusoidal model representation, in which rapid changes in spectral components are tracked using the concept of "birth" and "death" of underlying sinewaves. Next, we describe our method of landmark detection with respect to the behavior of sinewave tracks generated from this model. These landmarks are interconnected together to form a graph of hypothetical segments.
(cont.) Finally, we experiment with different segmentation algorithms to reduce the size of the segment graph. We compare the performance of our approach with the full and original segmentation methods under different noise environments. The word error rate of original segmentation model degrades rapidly in the presence of noise, while the sinusoidal and full segmentation models degrade more gracefully. However, the full segmentation method has the largest computation time compared to original and sinusoidal methods. We find that our algorithm provides the best tradeoff between word accuracy and computation time of the three methods. Furthermore, we find that our model is robust when speech is contaminated by white noise, speech babble noise and destroyer operations room noise.
by Tara N. Sainath.
M.Eng.

This dissertation addresses the paradoxical work of the Australian poet James McAuley, (1917-76) known for his polemic “anti-modernism” as co-inventor of an anti-surrealist hoax poet (Ern Malley) and subsequent neo-classical verse, but also for an inward lyric poetry using modernist, imagist forms. Through a sequential close reading, I underline the diversity, strength and consistency of this important poet, showing how McAuley’s “anti-modernist” phase, and his many experiments, revisions and transformations, were produced by an antithetical impulse in search for an adequate poetics, a knowledge of self and how best to be a poet in his own time. An extensive analysis of McAuley texts, including unpublished work, shows how such transformation was generated through cycles of response to and against the cultural, literary and artistic background of the poet’s time, in a dialectic between romantic, modernist, avant-garde and realist impulses. A consistent, if unpremeditated, pattern of transformation is observed in McAuley’s use of different successive voices evolving in his early modernist work from the nature observer, urban wanderer, to the controversial parodist, marking McAuley’s statement against surrealism. During the 1950s McAuley shifted to neoclassical genres and dialogues, in his celebratory Christian-lyricism and the seventeenth-century focus of his epistle “A Letter to John Dryden” and the heroic characters of his modern epic Captain Quiros. His turn “against the grain,” was abandoned, surprisingly, in the mid-1960s for a contemporary autobiographical approach, exploring personal history, and in his last poems of the 1970s, for a seeming return to his early neo-symbolist lyricism, and also the realist voice of the stoic nature-observer. The dissertation traces thematic and symbolic constants, McAuley’s insistence on formal craftsmanship, the search for an image-based symbolism, and, as a cosmopolitan Australian poet, ongoing questions about identity and culture, place and its differentiation, as well as an energising quest for order and a metaphysical element in the mid-twentieth-century.
Esta dissertação aborda a obra do poeta australiano James McAuley (1917-76), conhecido pela polémica “anti modernismo” enquanto coinventor de um poeta anti surrealista, mas também pela poesia íntima e lírica usando formas modernistas e imagistas. Apesar de se tratar de uma leitura sequencial de proximidade, sublinha-se a diversidade e consistência deste importante poeta, mostrando como a fase “anti modernista” e as muitas experiências, revisões e transformações foram produzidas por um impulso antitético em busca de uma poética adequada, do conhecimento do eu e da forma de ser poeta no seu tempo. Uma análise extensiva da obra mostra como tal transformação foi gerada por ciclos de resposta e oposição ao contexto cultural, literário e artístico do tempo, numa dialética entre impulsos românticos, modernistas, avant-garde e realistas. Um padrão consistente, mas não premeditado, de transformação observa-se na utilização de vozes sucessivas que vão, na obra inicial modernista, do observador da natureza e vagabundo urbano, até ao parodista contra o surrealismo. Posteriormente, mudou para géneros e diálogos neoclássicos no lirismo comemorativo cristão, no foco seiscentista da epístola “A Letter to John Dryden” e nas personagens heroicas do épico moderno Captain Quiros. Esta postura “contra a corrente” foi abandonada, surpreendentemente, em meados da década de 1960, preferindo um tema mais contemporâneo e autobiográfico explorando a história pessoal e, na década de 1970, num aparente retorno ao lirismo neossimbolista inicial e à voz realista do observador da natureza. Esta dissertação explora constantes tópicas, simbólicas e temáticas, a insistência de McAuley na competência formal, a busca de um simbolismo baseado em imagens e questões permanentes sobre identidade e cultura, o lugar e a sua diferenciação, assim como uma estimulante procura da ordem e de um elemento metafísico em meados do século XX.

Thesis (M.A.)--University of Tennessee, Knoxville, 2002.
Title from title page screen (viewed Oct., 14, 2002). Thesis advisor: Mary Papke. Document formatted into pages (vii, 120 p. : color ill.). Vita. Includes bibliographical references (p. 116-119).

In the second of three chapters that address Rome’s complicated legacy as an imperial state, McAuley contrasts the mid-twentieth century “golden old days” of ancient-world epics, which represented Roman soldiers as consummate professionals and warfare as neatly executed, with recent representations of the Roman army for post-9/11 audiences: a new “iron age” of betrayal, despair, and post-traumatic stress disorder. These films reflect a fundamental shift in the psychology of warfare and killing since Vietnam, which has created a vastly different and more ambiguous kind of conflict than the Cold-War binary of Spartacus (1960).McAuley examines the impact of this paradigm shift on contemporary depictions of the Roman army and its soldiers: first, by considering the “golden age” of Roman warfare in films from the 1950s and 1960s, in contrast with the dystopic view of Centurion(2010) and The Eagle (2011). He then traces the depiction of the individual Roman soldier in each era. Finally, he examines the broader contemporary context for post-9/11 depictions of antiquity: the growing body of films about the War on Terror, with which films like Centurion and The Eagle have far more in common than with their golden-age predecessors.