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- Andersson, Emelie, et al.
(författare)
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Serosurvey of spotted fever group Rickettsia in equids from western Para, Amazon, Brazil
- 2022
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Ingår i: Experimental and Applied Acarology. - : Springer Science and Business Media LLC. - 0168-8162 .- 1572-9702. ; 88, s. 361-370
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Tidskriftsartikel (refereegranskat)abstract
- From a previous large epidemiological survey, we randomly selected 474 serum samples (463 horses and 11 mules) distributed among four municipalities of Para state, Amazon region, Brazil, and from three types: farm animal, urban carthorse, and sport horse. Samples were tested by indirect fluorescence antibody test (IFAT >= 64) for antibodies reactive to spotted fever group (SFG) rickettsiae using Rickettsia rickettsii as crude antigens. From the 474 equids tested, 149 (31.4%) had ticks attached during sampling, belonging mostly to the species Dermacentor nitens. The overall seroprevalence for SFG rickettsiae was 31.4% (95% confidence interval: 27.3-35.9%) with 149 seropositive animals out of 474 screened. Notably, 77 equids (16.2%) had high endpoint titers ranging from 512 to 16,384, indicating that they had been exposed to SFG rickettsiae not long before sampling. Animal type affected rickettsial seroprevalence, with significantly higher values among farm horses when compared with urban and sport animals. Presence of dogs and tick infestation were negatively associated with equid seropositivity to R. rickettsii. This is the first report of SFG rickettsiae-reactive antibodies in equids from Para state, Brazilian Amazon.
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| 2. |
- Jansson, Emma, 1990-
(författare)
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Making in Context : Reconsidering Anders Zorn's Oil Painting Practice
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Anders Zorn is one of the most well-known Swedish artists of the late nineteenth century. Born 1860 in the Dalecarlian town of Mora, the artist’s works were renowned and sought-after during his lifetime, both at home and abroad. Ranging in motif from bathing nudes, cosmopolitan urban life and rural genre scenes, towards society portraiture, Zorn’s oeuvre – which is further comprised of a variety of different media such as watercolour, oil painting, etching and sculpture – provides a rich material record that serves to demonstrate the intricacies of his artistic process. The aim of the present thesis is to examine the details of Zorn’s materials and techniques, with specific focus on his oil painting practice. What materials did the artist use to construct his paintings? Did they change over time, or where they consistent throughout his career? What was Zorn’s typical approach towards compositional planning and paint application? Also, how does the artist’s practice relate to the techniques of his contemporaries, such as the French Impressionists or the international cohort of artists known as the juste milieu?In order to answer these questions the study draws upon the empirical methods of technical art history, using analytical techniques such as multispectral photography, x-radiography, x-ray fluorescence spectroscopy and paint sample analysis as a means of identifying the various stages of Zorn’s artistic process. In addition to examining the artist’s finished oil paintings, a broad range of both physical and written sources are also consulted, including his remnant studio materials, colourmen’s purchase orders and product catalogues, as well as press clippings of contemporary critics’ reviews. The information provided through these analyses and sources are examined by way of the theoretical concept of materiality, drawing particularly upon the writing of social anthropologists Tim Ingold and Daniel Miller, as well as art historian Michael Yonan. Using this conceptual framework, the study centers on the making of Zorn’s oil paintings, focusing on aspects such as the artist’s training, material conditions, exhibition and market contexts, as well as contemporary aesthetic debates that help explain the details of his practice. The thesis is divided into two parts; the first part examines the details of Zorn’s oil painting practice, and the second focuses on contextualising his technique in relation to his contemporary context. The first part documents specific details such as the artist’s particular choice of supports, grounds and colours. In addition, it discusses his preparatory process, which typically involved the use of pencil drawings and value studies in oil. Finally, the details of Zorn’s paint application are explored, focusing on aspects such as the artist’s use of an ébauche underlayer, his successive build up using shadows and highlights, as well as the particular qualities of his surface facture. Building upon this characterisation of his oil painting practice, part two then goes on to compare Zorn’s paintings with those of other late nineteenth-century painters, starting with a technical juxtaposition with the French Impressionists, followed by an overview of a select number of juste milieu painters, notably Édouard Manet, John Singer Sargent, Giovanni Boldini and Joaquín Sorolla. The remaining sections of part two are devoted to the broader nineteenth-century context, with specific reference to the aesthetic debates surrounding Charles Baudelaire’s concept of modernité (Fr. modernity), as well as Zorn’s particular exhibition and market setting.
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| 5. |
- Norlander, Anna, et al.
(författare)
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Long-Term Predictors of Social and Leisure Activity 10 Years after Stroke.
- 2016
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Ingår i: PLoS ONE. - : Public Library of Science (PLoS). - 1932-6203. ; 11:2
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Tidskriftsartikel (refereegranskat)abstract
- BACKGROUND: Restrictions in social and leisure activity can have negative consequences for the health and well-being of stroke survivors. To support the growing number of people who are ageing with stroke, knowledge is needed about factors that influence such activity in a long-term perspective. AIM: To identify long-term predictors of the frequency of social and leisure activities 10 years after stroke. METHOD: 145 stroke survivors in Sweden were followed-up at16 months and 10 years after a first-ever stroke. Data representing body functions, activities & participation, environmental factors and personal factors at 16 months after stroke, were used in multiple linear regression analyses to identify predictors of the activity frequency after 10 years, as assessed by the 'Community, social and civic life' sub-domain of the Frenchay Activities Index (FAI-CSC). RESULTS: At the 10-year follow-up the frequency of social and leisure activities varied considerably among the participants, with FAI-CSC scores spanning the entire score range 0-9 (mean/median 4.9/5.0). Several factors at 16 months post stroke were independently related to the long-term activity frequency. The final regression model included four significant explanatory variables. Driving a car (B = 0.999), ability to walk a few hundred meters (B = 1.698) and extent of social network (B = 1.235) had a positive effect on activity frequency, whereas an age ≥ 75 years had a negative effect (B = -1.657). This model explained 36.9% of the variance in the FAI-CSC (p<0.001). CONCLUSION: Stroke survivors who drive a car, have the ability to walk a few hundred meters and have a wide social network at 16 months after a first-ever stroke are more likely to have a high frequency of social and leisure activities after 10 years, indicating that supporting outdoor mobility and social anchorage of stroke survivors during rehabilitation is important to counteract long-term inactivity.
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