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Статті в журналах з теми "Arts not elsewhere classified"

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Автор: Grafiati

Опубліковано: 10 грудня 2022

Оновлено: 28 січня 2023

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1

Oviatt, Charles G., David B. Madsen, and Dave N. Schmitt. "Late Pleistocene and early Holocene rivers and wetlands in the Bonneville basin of western North America." Quaternary Research 60, no. 2 (September 2003): 200–210. http://dx.doi.org/10.1016/s0033-5894(03)00084-x.

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AbstractField investigations at Dugway Proving Ground in western Utah have produced new data on the chronology and human occupation of late Pleistocene and early Holocene lakes, rivers, and wetlands in the Lake Bonneville basin. We have classified paleo-river channels of these ages as “gravel channels” and “sand channels.” Gravel channels are straight to curved, digitate, and have abrupt bulbous ends. They are composed of fine gravel and coarse sand, and are topographically inverted (i.e., they stand higher than the surrounding mudflats). Sand channels are younger and sand filled, with well-developed meander-scroll morphology that is truncated by deflated mudflat surfaces. Gravel channels were formed by a river that originated as overflow from the Sevier basin along the Old River Bed during the late regressive phases of Lake Bonneville (after 12,500 and prior to 11,000 14C yr B.P.). Dated samples from sand channels and associated fluvial overbank and wetland deposits range in age from 11,000 to 8800 14C yr B.P., and are probably related to continued Sevier-basin overflow and to groundwater discharge. Paleoarchaic foragers occupied numerous sites on gravel-channel landforms and adjacent to sand channels in the extensive early Holocene wetland habitats. Reworking of tools and limited toolstone diversity is consistent with theoretical models suggesting Paleoarchaic foragers in the Old River Bed delta were less mobile than elsewhere in the Great Basin.

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2

Qureshi, Bilal. "Elsewhere." Film Quarterly 70, no. 3 (2017): 63–68. http://dx.doi.org/10.1525/fq.2017.70.3.63.

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Ava DuVernay's Queen Sugar arrives at a defining moment in American cultural life, as politics and art converge in an unprecedented moment for black creativity. The unapologetic emergence of full-fledged black subjectivity onscreen runs parallel to a new chapter in the civil rights movement. Black Lives Matter has propelled long-overdue conversations about policing, the prison-industrial complex, inequality, and structural barriers into the mainstream. The ongoing renaissance in television enabled by streaming platforms and new revenue models has opened doors for artists to explore these issues with revived creative freedom. The feisty sitcoms and criminal dramas that have contained black lives for far too long have been surpassed in quality by works more ambitious, aesthetically daring, and politically relevant. Whether it is FX's Atlanta created by and starring Donald Glover, Marvel's Luke Cage on Netflix, or the intergenerational family politics of Queen Sugar, there isn't a more exciting time to watch black lives matter and shimmer on American screens.

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3

Qureshi, Bilal. "Elsewhere." Film Quarterly 70, no. 4 (2017): 77–82. http://dx.doi.org/10.1525/fq.2017.70.4.77.

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FQ Columnist Bilal Qureshi reflects on Deepa Mehta's film Earth at an important moment in Indian and global history. Writing from New Delhi, he had the opportunity to speak to Mehta in person about her life and work, and that discussion is woven into this column. Since making Earth almost twenty years ago, Deepa Mehta has seen her stature grow to include film festival premieres, an Oscar nomination, and a platform as one of the rare women auteurs on the international stage. She has lived in Canada since the 1970s, but her most celebrated films are not about immigrant displacement or hyphenated identity. Rather, she has always told Indian stories. From the groundbreaking story of a lesbian relationship between two housewives in suffocating arranged marriages (Fire, 1996) to the forced exile of widows in orthodox Hindu scripture (Water, 2005), she has confronted uncomfortable social realities in Indian society. Although she has been labeled an anti-national and had sets burned and cinemas attacked by the religious right for insulting traditional values, she has taken the challenges in stride and continued making films.

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4

Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 1 (2017): 59–64. http://dx.doi.org/10.1525/fq.2017.71.1.59.

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The Jewel in the Crown was based on a quartet of acclaimed novels by the British writer Paul Scott and told the interwoven stories of colonial officers and their families living in India as the empire collapsed around them. It aired over fourteen weeks on PBS's Masterpiece Theater, from December 1984 to March 1985, and arrived in the midst of a golden age of television that included groundbreaking miniseries such as The Thorn Birds (ABC, 1983) and Brideshead Revisited (ITV, 1981). The new British import produced by Granada Television became a critical and cultural sensation–the definition of appointment television. One in nine Americans with a television set tuned in, over several months, as it transported audiences to the unseen exotic landscapes of India and the twilight of the British Raj. Qureshi reflects on this series thirty years after it first aired on American television, and finds it unexpectedly subversive, sly, and prescient.

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5

Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 2 (2017): 61–64. http://dx.doi.org/10.1525/fq.2017.71.2.61.

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Two Meetings and a Funeral is an 85-minute historical opus by the artist Naeem Mohaiemen about the rise and fall of the 1970s Third World resistance movements that once threatened the emergent Western neoliberal order. By juxtaposing archival footage with a contemporary walking tour through Algiers, Dhaka, and New York, Mohaiemen asks of the failed socialist movements in the global South: “What went wrong?” In the context of this writer's cinephilia, what drew me to watch and rewatch Naeem Mohaiemen's latest film was not only its timely subject matter but also its wondrous big-screen delivery. Mohaiemen savors the possibilities of an expansive three-screen presentation in high definition with 5.1-surround sound. Which prompts other fundamental questions: What exactly constitutes gallery art and what belongs in a cinema? Where does this expansive, gripping, and elegant piece of filmmaking truly belong?

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6

Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 3 (2018): 77–80. http://dx.doi.org/10.1525/fq.2018.71.3.77.

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Columbus is the feature-film debut of Korean American director Kogonada, known to cinephiles for his video essays on auteurs. His film stars John Cho (Star Trek, Harold and Kumar) as Jin, a grieving son arriving in Indiana from Seoul to care for his ailing father, a renowned scholar of modernist architecture. The architectural imagery in Columbus serves as something more: it provides narrative punctuation, forming elegantly placed interludes in a moving story of the real people who live in and visit today's Columbus. It's a film about the forgotten heartland ambitions of young dreamers like Casey who face the precarious economic realities of a city beyond the thriving coasts. At a time when ideas of diversity, Middle Americanness, and technology-fueled attention-deficiency sit at the center of national cultural debates, Columbus elegantly glides across all those themes, speaking to yet not confronting them.

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7

Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 1 (2018): 69–72. http://dx.doi.org/10.1525/fq.2018.72.1.69.

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Bilal Qureshi continues to look “elsewhere,” here musing on the contrast in stereotypes and complexities between a marquee movie, Tony Gilroy's Beirut, and an art-house work, Tamer Said's In the Last Days of the City. The overlapping theatrical release of the two films allows Qureshi to juxtapose their very different visions of the Middle East. While Beirut repeats familiar tropes from Hollywood's post-9/11 Arab thrillers, In the Last Days of the City's portrait of pre-revolutionary Cairo presents a welcome alternative to this clichéd gaze, presenting instead a more authentic and genuine representation of Middle Eastern subjectivity.

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8

Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 2 (2018): 67–70. http://dx.doi.org/10.1525/fq.2018.72.2.67.

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War films push the limits and emotions of the cinematic form, but the genre has rarely given its women characters a fraction of the depth afforded the male characters on the front-lines. Indian filmmaker Meghna Gulzar's new film “Raazi” re-orients the conventional narrative of war, suggesting new possibilities for a storied cinematic tradition.

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9

Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 3 (2019): 66–68. http://dx.doi.org/10.1525/fq.2019.72.3.66.

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FQ Columnist Bilal Qureshi reflects on the “Getting Real” conference for documentary filmmakers through the lens of Steve Loveridge's film, Matangi/Maya/M.I.A. (2018). Despite giving the initial impression of being a standard rockumentary, the film reveals itself to be an unsettling meditation on gender, race, politics, and the entertainment industry's chronic limitations regarding voices from “elsewhere.” As such, it provides Qureshi with an ideal subject through which to explore “Getting Reel”'s discussion of documentary's crisis of inclusion and the critical need to expand opportunities for marginalized voices.

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10

Qureshi, Bilal. "Elsewhere." Film Quarterly 72, no. 4 (2019): 63–67. http://dx.doi.org/10.1525/fq.2019.72.4.63.

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FQ Columnist Bilal Qureshi examines two recent German historical dramas that address the cultural and artistic process of grappling with the country's Nazi and Communist past: Florian Henckel von Donnersmarck's Werk ohne Autor (Never Look Away, 2018) and Christian Petzold's Transit (2018). He queries the two films’ highly divergent receptions at home and abroad and asks what Germany's rejection of the lush romanticism of Never Look Away—and embrace of Christian Petzold's unresolved puzzles—can tell us about the shifting grounds of how history is seen and interpreted on-screen in this moment.

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11

Qureshi, Bilal. "Elsewhere." Film Quarterly 73, no. 1 (2019): 73–76. http://dx.doi.org/10.1525/fq.2019.73.1.73.

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FQ Columnist Bilal Qureshi discusses the new Netflix film, The Burial of Kojo, released in March 2019 as part of the platform's slate of high-profile films. The debut feature film by the Ghanaian-born and Brooklyn-based artist Samuel “Blitz” Bazawule (known by his stage name, Blitz the Ambassador), Kojo weaves together urgent questions of pollution, corruption, urbanization, and Chinese expansion into West Africa, but places them in the background of a deeply felt story of one daughter's search for her missing father. Qureshi discusses the film in the broader context of the crisis of representation that afflicts African peoples, countries, and stories, due to the absence of storytellers from the region on the global stage. These themes came into sharper focus for Qureshi during a visit to the Venice Biennale, which for the first time ever includes a Ghana Pavilion.

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12

Qureshi, Bilal. "Elsewhere." Film Quarterly 73, no. 2 (2019): 62–65. http://dx.doi.org/10.1525/fq.2019.73.2.62.

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FQ columnist Bilal Qureshi compares two seemingly similar summer movies: Gurinder Chadha's Blinded by the Light and Danny Boyle's Yesterday, both of which feature music-obsessed South Asian male leads. However, while Boyle's film adopts a race-blind perspective, promoting a vision (or fantasy) of a multiracial Britain of friendships and intimacy, in Blinded by the Light, Chadha pushes her long-standing interest in race and multiculturalism beyond the feel-good sensibilities of her earlier hit, Bend it Like Beckham. Instead, Qureshi argues, Chadha has made a subversively political film, bristling with an urgent plea for empathy, inspired by the blinding xenophobia of Brexit.

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13

Qureshi, Bilal. "Elsewhere." Film Quarterly 73, no. 3 (2020): 79–82. http://dx.doi.org/10.1525/fq.2020.73.3.79.

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FQ Columnist Bilal Qureshi observes that while think pieces and popular culture alike depict heterosexual relationships as in crisis in the age of Tinder, gay love is blossoming in mainstream cinema, breaking out of its marginalized festival circuits to help redefine what it means to love and be loved in 2019. As his starting point, Qureshi discusses Lucio Castro's End of the Century (2019), a deeply personal film (for both the director and this critic) that Qureshi sees as emblematic of the ways in which a new generation of films have expanded the canon of gay romance. No longer burdened by tragedy and the fight for equal rights, films such as End of the Century, Moonlight, and Call Me By Your Name are free to focus instead on the universal mysteries of love, in ways that appeal to straight and queer audiences alike.

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14

Qureshi, Bilal. "Elsewhere." Film Quarterly 73, no. 4 (2020): 65–67. http://dx.doi.org/10.1525/fq.2020.73.4.65.

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FQ columnist Bilal Qureshi reflects upon the significance of Bong Joon-ho's Parasite's Oscar victory over the presumed favorite, Sam Mendes' World War I drama 1917 for both the film industry and the culture at large. In keeping with the premise of his column “Elsewhere,” which explores the ways in which cinematic works are activated and reframed by the national, cultural, and aesthetic geography of where they are experienced, Qureshi offers a fresh perspective on these two films based upon his experience of watching 1917 in Dubai, with Arabic subtitles and an ethnically diverse audience. Viewed in this Middle Eastern context, a film dismissed as passé and traditional by U.S. critics revealed itself as urgent and resonant, transcending differences of language and geography to offer a potent reminder of why the pain and loss of war still matters.

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15

Moore Saggese, Jordana. "Looking Elsewhere." Art Journal 79, no. 2 (April 2, 2020): 5. http://dx.doi.org/10.1080/00043249.2020.1765572.

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16

Qureshi, Bilal. "Elsewhere: The Last Circus." Film Quarterly 74, no. 1 (2020): 84–87. http://dx.doi.org/10.1525/fq.2020.74.1.84.

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FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.

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17

Brown, Tiffany A., Pamela K. Keel, and Ruth H. Striegel. "Feeding and Eating Conditions Not Elsewhere Classified (NEC) inDSM-5." Psychiatric Annals 42, no. 11 (November 1, 2012): 421–25. http://dx.doi.org/10.3928/00485713-20121105-08.

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18

Melgar, Lucía. "Always Thinking Elsewhere." Review: Literature and Arts of the Americas 41, no. 2 (November 2008): 276–82. http://dx.doi.org/10.1080/08905760802402535.

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19

Solomon, Jon, and Lu Pan. "Bordering Hong Kong: Towards a heterotopic ‘elsewhere’." Journal of Contemporary Chinese Art 8, no. 1 (July 1, 2021): 3–12. http://dx.doi.org/10.1386/jcca_00034_2.

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20

Kellman, Anthony, and Derek Walcott. "Testimony From Here and Elsewhere." Callaloo, no. 40 (1989): 605. http://dx.doi.org/10.2307/2931306.

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21

Chowdhury, Elora Halim. "Locating Global Feminisms Elsewhere." Cultural Dynamics 21, no. 1 (March 2009): 51–78. http://dx.doi.org/10.1177/0921374008100407.

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22

Louis, David N., Pieter Wesseling, Werner Paulus, Caterina Giannini, Tracy T. Batchelor, J. Gregory Cairncross, David Capper, et al. "cIMPACT-NOW update 1: Not Otherwise Specified (NOS) and Not Elsewhere Classified (NEC)." Acta Neuropathologica 135, no. 3 (January 25, 2018): 481–84. http://dx.doi.org/10.1007/s00401-018-1808-0.

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23

Vaget, Hans Rudolf, Erik Ryding, and Rebecca Pecherefsky. "Bruno Walter: A World Elsewhere." German Studies Review 26, no. 1 (February 2003): 188. http://dx.doi.org/10.2307/1432950.

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24

Wright, Alastair. "Response: Thoughts on Difference in India and Elsewhere." Art Bulletin 90, no. 4 (December 2008): 549–55. http://dx.doi.org/10.1080/00043079.2008.10786409.

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25

Joselit, David, and Ann Reynolds. "Robert Smithson: Learning from New Jersey and Elsewhere." Art Bulletin 85, no. 3 (September 2003): 620. http://dx.doi.org/10.2307/3177393.

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26

Christie, Ian. "British Cinema – A View from (Elsewhere in) Europe." Journal of British Cinema and Television 1, no. 1 (May 2004): 120–22. http://dx.doi.org/10.3366/jbctv.2004.1.1.120.

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27

2015 Program Committee, BRASS. "From Committees of RUSA: BRASS Program: Not Elsewhere Classified: Researching New and Niche Industries." Reference & User Services Quarterly 55, no. 2 (December 16, 2015): 156. http://dx.doi.org/10.5860/rusq.55n2.156.

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The Business Research and Services Section (BRASS) 2015 program was directed to business research professionals who may be stymied by researcher requests related to newer or niche industries. In a stimulating ninety-minute session, two top research professionals informed, confronted and engaged their American Library Association (ALA) audience with their well-paced array of smart search strategies and sources designed to meet industry challenges. The presentation was effective in identifying research workaround strategies and tying real industry problems with practical, on-the-job solutions.The material provided here and the bibliography of sources may serve as additional resources for emerging industry queries of library users. The BRASS program presentation is available via this ALA conference website (http://alaac15.ala.org/node/28603).

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28

Burford, C., R. Laxton, Z. Sidhu, M. Aizpurua, A. King, I. Bodi, K. Ashkan, and S. Al-Sarraj. "ATRX immunohistochemistry can help refine ‘not elsewhere classified’ categorisation for grade II/III gliomas." British Journal of Neurosurgery 33, no. 5 (April 24, 2019): 536–40. http://dx.doi.org/10.1080/02688697.2019.1600657.

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29

Dakskobler, Igor, Andrej Martinčič, and Daniel Rojšek. "Phytosociological Analysis Of Communities With Adiantum Capillusveneris In The Foothills Of The Julian Alps (Western Slovenia)." Hacquetia 13, no. 2 (December 1, 2014): 235–58. http://dx.doi.org/10.2478/hacq-2014-0016.

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Abstract We conducted a phytosociological study of the communities hosting the rare and endangered fern Adiantum capillus-veneris in the foothills of the Julian Alps, in Karst and in Istria. Based on a comparison with similar communities elsewhere in the southern Alps (northern Italy) we classified most of the recorded stands into the syntaxa Eucladio-Adiantetum eucladietosum and -cratoneuretosum commutati. Releves from the southern Julian Alps, located in comparatively slightly colder and moister local climate and the dolomite bedrock are classified into the new subassociation -hymenostylietosum recurvirostri subass. nova. Stands with the abundant occurrence of the liverwort Conocephalum conicum, are classified in to the new subassociation -conocephaletosum conici subass. nova. Stands in conglomerate rock shelters along the Soča at Solkan are classified into the new association Phyteumato columnae-Adiantetum ass. nova, a community of transitional character between the classes Adiantetea capilli-veneris and Asplenietea trichomanis.

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30

Garanča, Biruta. "THE STRUCTURE OF MACHINERY BUILDING IN LATGALE AND PERSPECTIVES OF ITS DEVELOPMENT." Latgale National Economy Research 1, no. 1 (June 30, 2009): 53. http://dx.doi.org/10.17770/lner2009vol1.1.1761.

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The financial facility of development of machinery building in Latgale is expected in manufacturing of electrical and optical equipment and in production of metal and metal ware. At present the proportion of production of leading machinery and equipment non-classified elsewhere, as well as of production of transport means has a tendency to reduce and also they have lesser probability to manage the financial crisis.

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31

Goldberg, David. "Should our major classifications of mental disorders be revised?" British Journal of Psychiatry 196, no. 4 (April 2010): 255–56. http://dx.doi.org/10.1192/bjp.bp.109.072405.

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SummaryOur major classification systems (DSM and ICD) face three main problems: the high rates of ‘comorbidity’ that are produced by our present diagnostic rules, the increasing use of ‘not elsewhere classified’ (NEC) by practising clinicians, and the fact that each new edition is longer and more complex than the one preceding it. A major simplification of the chapter structure used by each classification might pave the way to address these problems.

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32

Gangadhar, K., and D. Santhosh. "Primary Skull Osteosarcoma: MDCT Evaluation and Histopathological Correlation in Two Cases." Neuroradiology Journal 25, no. 2 (April 2012): 188–92. http://dx.doi.org/10.1177/197140091202500206.

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Osteosarcomas are typically long bone tumors and rarely affect the skull, with most articles reporting single cases. As elsewhere in the body, these lesions may be classified as primary or secondary, chiefly post-Paget and post-radiation therapy. We describe two cases of primary osteosarcoma of skull one presenting with cerebellar symptoms and another with giant skull swelling. Complete evaluation with 64 slice CT and histopathological correlation was carried out.

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33

Brydon (book editor), Diana, Irena R. Makaryk (book editor), and Ian Munro (review author). "Shakespeare in Canada: "a world elsewhere"?" Renaissance and Reformation 39, no. 1 (January 1, 2003): 130–32. http://dx.doi.org/10.33137/rr.v39i1.8893.

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34

Osthoff, Simone. "Elsewhere in Contemporary Art: Topologies of Artists' Works, Writings, and Archives." Art Journal 65, no. 4 (December 1, 2006): 6. http://dx.doi.org/10.2307/20068494.

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35

Osthoff, Simone. "Elsewhere in Contemporary Art: Topologies of Artists' Works, Writings, and Archives." Art Journal 65, no. 4 (December 2006): 6–17. http://dx.doi.org/10.1080/00043249.2006.10791223.

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36

Coates, Carrol F. "Callaloo 's Thirtieth: Haiti, the Caribbean, and Elsewhere." Callaloo 30, no. 1 (2007): 179–81. http://dx.doi.org/10.1353/cal.2007.0112.

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37

Burrows, Jon. "‘A Vague Chinese Quarter Elsewhere’: Limehouse in the Cinema 1914–36." Journal of British Cinema and Television 6, no. 2 (August 2009): 282–301. http://dx.doi.org/10.3366/e1743452109000946.

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38

Gorman, Tom, Tiina Syrjä, and Mikko Kanninen. "There is a world elsewhere: rehearsing and training through immersive telepresence." Theatre, Dance and Performance Training 10, no. 2 (May 4, 2019): 208–26. http://dx.doi.org/10.1080/19443927.2019.1610491.

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39

MONNIOT, FRANÇOISE, and SUSANNA LÓPEZ-LEGENTIL. "Deep-sea ascidians from Papua New Guinea." Zootaxa 4276, no. 4 (June 14, 2017): 529. http://dx.doi.org/10.11646/zootaxa.4276.4.5.

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Анотація:

Four deep-sea ascidian species collected during the KAVIENG 2014 expedition in Papua New Guinea are described, including additional characteristics not reported previously. Fimbrora calsubia is classified within the family Ascidiidae, Dicopia fimbriata and Octacnemus bythius within Octacnemidae, and Culeolus recumbens within Pyuridae. Anatomical observations confirmed previous descriptions for these four species collected elsewhere. Here, we describe additional morphological features for these species and provide the first barcode DNA sequences (based on a fragment of the mitochondrial gene Cytochrome Oxidase I) for D. fimbriata and C. recumbens.

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40

Wilkin, Karen. "Northernness and Other Considerations: At the Museums and Elsewhere." Hudson Review 56, no. 4 (2004): 677. http://dx.doi.org/10.2307/3852967.

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41

Naylor, Paul. ""Some ecstatic elsewhere": Nathaniel Mackey's Whatsaid Serif." Callaloo 23, no. 2 (2000): 592–605. http://dx.doi.org/10.1353/cal.2000.0099.

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42

Masarova, Lucia, Prithviraj Bose, Naveen Pemmaraju, Zeev E. Estrov, Lingsha Zhou, Sherry A. Pierce, Jorge E. Cortes, Hagop M. Kantarjian, and Srdan Verstovsek. "Evaluation of Cytogenetic Stratifications in Myelofibrosis." Blood 132, Supplement 1 (November 29, 2018): 1763. http://dx.doi.org/10.1182/blood-2018-99-120225.

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Abstract Introduction: The revised cytogenetic risk stratification of patients with primary myelofibrosis (PMF) divided patients into 3 prognostic categories, with additional new category of very high risk patients (VHR). This score should enhance traditional classification incorporated in the Dynamic International Prognostic Scoring System-Plus (DIPPS-Plus). Objective: To evaluate the prognostic utility of cytogenetic stratifications (DIPSS-Plus and the revised cytogenetic model) in patients with PMF referred to our institution between 1984 and 2016. Methods: We retrospectively reviewed the charts of 883 patients with PMF with available cytogenetic analysis at the time of referral to our institution (> 10 metaphases). Cytogenetic was reported according to the International System for Human Cytogenetic Nomenclature. Patients were classified into cytogenetic risks based on DIPSS-Plus (Gangat, JCO, 2011), and the revised cytogenetic model (Tefferi, Leukemia, 2017). Overall survival (OS) was estimated using the Kaplan-Meier method, and groups were compared by the log rank test. Impact of cytogenetic abnormalities on OS was also evaluated by comparing them against patients with diploid karyotype using stepwise Cox regression. Results: Median age was 66 years (range, 27-88), and 64% of patients were male. The distribution of DIPSS scores was as follows: 8% low, 48% intermediate 1, 44% intermediate 2 and 14% high. OS in each DIPSS category was 53, 46, 26, 15 months (p<0.001). The JAK2, MPL and CALR mutation was present in 55% (n=486), 6% (n=50), and 7% (n=64). Overall, 563 (64%) patients had diploid karyotype. The most frequent abnormal karyotypes were single 20q- (n=68, 8%), single 13q- (n=40, 4.5%), and ≥3 abnormalities (Abn; complex karyotype, CK, n=52, 6%). Among patients with CK, 27 (52%) pts had VHR Abn. After a median follow-up of 22.4 months (range, 0.5-251); 708 (80%) of patients died. Eighty five patients (10%) developed acute leukemia, 39% of these patients had CK. According to DIPSS-plus, patients were stratified into favorable (FAV, n=758, 86%) and unfavorable (UNF, n=126, 14%) category with distinct median OS of 35 months (range, 31-39), and 17 months (range, 11.6-22), p < 0.001 (HR 1.37, [95% CI 1.11-1.7]). Three year OS was 49% and 32%, respectively (Figure 1a). The revised cytogenetic stratification classified patients into favorable (n=687, 78%), unfavorable (n=151, 17%), and VHR (n=47, 5%) with respective OS of 35, 32 and 10 months (overall p<0.001, FAV vs UNF p= 0.8; Figure 1b); similar between patients in favorable and unfavorable groups. Three year OS for each group was 49%, 46% and 12%, respectively. OS of patients with individual cytogenetics (as used in the revised classification) is depicted in Table. Patients with single deletion 13q have significantly inferior OS than the remaining patients in FAV group. Patients with sole abnormality of chromosome 1 and trisomy 9 had the longest OS within the FAV group, but without reaching a statistical significance. Similarly, patients with sole trisomy 8, sole deletion 7q/5q, and other sole Abn not included elsewhere, had inferior OS when compared to the remaining patients in UNF group (Table 1). After re-grouping patients with different OS from FAV and UNF groups, we have noticed an intermediate group of patients containing the above mentioned Abn with distinctly different OS from FAV and UNF group of 24 months (range, 14.5-33; Figure 1c). Conclusions: Results from our cohort of 883 PMF patients did not confirm better discriminatory power of revised cytogenetic stratification model when compared to the DIPSS-Plus, as it failed to differentiate different OS between favorable and unfavorable groups. In our cohort, patients with single deletion 13q, single trisomy 8, and abnormalities of 5q/7q have superior OS to very high risk patients, but inferior to all remaining patients. Because the revised cytogenetic stratification has been already incorporated into newer complex molecular prognostic models of patients with PMF (MIPSSversion2.0, GIPSS), its further validation is warranted. Table Abbr.: Chr, chromosome, del, deletion, DUP, duplication, transl, translocation, excl, excluding; ¥OTHER solo: INV(9) in [3], Abn chr. 11, 12, 16, 17, 18 (mostly deletion of p/q arms, or addition) [7]; VHR = very high risk (-7; inv(3)/3q21; i(17q); 12p-/12p11.2; 11q-/11q23; autosomal trisomies excl. +8/+9). Disclosures Bose: Incyte Corporation: Honoraria, Research Funding; CTI BioPharma: Research Funding; Astellas Pharmaceuticals: Research Funding; Constellation Pharmaceuticals: Research Funding; Pfizer, Inc.: Research Funding; Celgene Corporation: Honoraria, Research Funding; Blueprint Medicines Corporation: Research Funding. Pemmaraju:plexxikon: Research Funding; cellectis: Research Funding; Affymetrix: Research Funding; daiichi sankyo: Research Funding; stemline: Consultancy, Honoraria, Research Funding; novartis: Research Funding; samus: Research Funding; celgene: Consultancy, Honoraria; abbvie: Research Funding; SagerStrong Foundation: Research Funding. Cortes:novartis: Research Funding. Verstovsek:Novartis: Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Celgene: Membership on an entity's Board of Directors or advisory committees; Incyte: Consultancy; Italfarmaco: Membership on an entity's Board of Directors or advisory committees.

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43

Okoye, Ikem Stanley. "Review: Swahili Port Cities: The Architecture of Elsewhere, by Prita Meier." Journal of the Society of Architectural Historians 76, no. 1 (March 1, 2017): 113–15. http://dx.doi.org/10.1525/jsah.2017.76.1.113.

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44

Leach, Stephen. "History, Ethics and Philosophy: Bernard Williams’ Appraisal of R. G. Collingwood." Journal of the Philosophy of History 5, no. 1 (2011): 36–53. http://dx.doi.org/10.1163/187226311x555446.

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AbstractThe author examines Williams’ appraisal of Collingwood both in his eponymous essay on Collingwood, in the posthumously published Sense of the Past (2006), and elsewhere in his work. The similarities and differences between their philosophies are explored: in particular, with regard to the relationship between philosophy and history and the relationship between the study of history and our present-day moral attitudes. It is argued that, despite Williams usually being classified as an analytic philosopher and Collingwood being classified as an idealist, there is substantial common ground between them. Williams was aware of this and made clear his sympathy for Collingwood; but, nonetheless, the relationship between Williams and Collingwood has not previously been explored in any detail. After establishing the common ground between these philosophers, and the areas of disagreement, the author suggests that both may have something to gain from the other.

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45

Foster, Robert J. "Bargains with modernity in Papua New Guinea and elsewhere." Anthropological Theory 2, no. 2 (June 2002): 233–51. http://dx.doi.org/10.1177/1469962002002002632.

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46

Meintel, Deirdre, Jean-Loup Amselle, and Claudia Royal. "Mestizo Logics: Anthropology of Identity in Africa and Elsewhere." Anthropologica 42, no. 1 (2000): 105. http://dx.doi.org/10.2307/25605969.

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47

Dresch, Paul. "Segmentation: Its Roots in Arabia and Its Flowering Elsewhere." Cultural Anthropology 3, no. 1 (February 1988): 50–67. http://dx.doi.org/10.1525/can.1988.3.1.02a00050.

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48

WALTON, JOHN K., and DAVID TIDSWELL. "‘Classified at random by veritable illiterates’: the taking of the Spanish census of 1920 in Guipúzcoa province." Continuity and Change 20, no. 2 (August 2005): 287–313. http://dx.doi.org/10.1017/s0268416005005503.

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This article offers an approach through administrative and cultural history to the problems associated with gathering and processing data for the Spanish national census of 1920, and by implication for earlier Spanish censuses. It focuses on the Basque province of Guipúzcoa, making use of correspondence between the central statistical office in Madrid, the provincial jefe de estadística and the localities, and of reports on three problematic towns within the province. The issues that emerge regarding ‘undercounting’, the definition of administrative boundaries and the classification of demographic characteristics are set in the wider context of census-taking practices and problems elsewhere in Spain and in other cultures.

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49

Kerr, Rosalind. "Diana Brydon and Irina R. Makaryk, eds. Shakespeare in Canada: A World Elsewhere." Theatre Research in Canada 23, no. 1-2 (September 2002): 161–64. http://dx.doi.org/10.3138/tric.23.1_2.161.

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50

Croft, Clare. "Not Yet and Elsewhere: Locating Lesbian Identity in Performance Archives, as Performance Archives." Contemporary Theatre Review 31, no. 1-2 (April 3, 2021): 34–50. http://dx.doi.org/10.1080/10486801.2021.1878504.

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