bluuebunny/crossref_metadata_2025_split huggingface dataset:
Cortical and Trabecular Load Sharing in the Human Vertebral Body
Authors: Eswaran Senthil K , Gupta Atul , Adams Mark F , Keaveny Tony M 
Published: April 2006

Abstract
The biomechanical role of the vertebral cortical shell remains poorly understood. Using high-resolution finite element modeling of a cohort of elderly vertebrae, we found that the biomechanical role of the shell can be substantial and that the load sharing between the cortical and trabecular bone is complex. As a result, a more integrative measure of the trabecular and cortical bone should improve noninvasive assessment of fracture risk and treatments.
Introduction: A fundamental but poorly understood issue in the assessment of both osteoporotic vertebral fracture risk and effects of treatment is the role of the trabecular bone and cortical shell in the load-carrying capacity of the vertebral body.
Materials and Methods: High-resolution μCT-based finite element models were developed for 13 elderly human vertebrae (age range: 54–87 years; 74.6 ± 9.4 years), and parameter studies—with and without endplates—were performed to determine the role of the shell versus trabecular bone and the effect of model assumptions.
Results: Across vertebrae, whereas the average thickness of the cortical shell was only 0.38 ± 0.06 mm, the shell mass fraction (shell mass/total bone mass)—not including the endplates—ranged from 0.21 to 0.39. The maximum load fraction taken by the shell varied from 0.38 to 0.54 across vertebrae and occurred at the narrowest section. The maximum load fraction taken by the trabecular bone varied from 0.76 to 0.89 across vertebrae and occurred near the endplates. Neither the maximum shell load fraction nor the maximum trabecular load fraction depended on any of the densitometric or morphologic properties of the vertebra, indicating the complex nature of the load sharing mechanism. The variation of the shell load-carrying capacity across vertebrae was significantly altered by the removal of endplates, although these models captured the overall trend within a vertebra.
Conclusions: The biomechanical role of the thin cortical shell in the vertebral body can be substantial, being about 45% at the midtransverse section but as low as 15% close to the endplates. As a result of the complexity of load sharing, sampling of only midsection trabecular bone as a strength surrogate misses important biomechanical information. A more integrative approach that combines the structural role of both cortical and trabecular bone should improve noninvasive assessment of vertebral bone strength in vivo.
Development of an Anthropomorphic Telemanipulation System (Entwicklung eines anthropomorphen Telemanipulationssystems)
Authors: Stanczyk Bartlomiej , Buss Martin 
Published: April 2006

Abstract
This article describes the development of a dual arm robotic manipulator with anthropomorphic kinematics. The goal of this work is mimicking the functionality of the human arms for the purpose of teleoperation. Two main issues are discussed. First, the kinematic control of the manipulators, including redundancy resolution and singularity robust inverse kinematics, is presented. Second issue is the comparative study of compliant control methods aiming at securing stable contact with unknown environments. As a practical benchmark an assembly experiment for a case of a negligible time delay was successfully performed.
Interrelationships among Agronomic and Seed Quality Traits in an Interspecific Soybean Recombinant Inbred Population
Authors: Cicek Mine S. , Chen Pengyin , Saghai Maroof M. A. , Buss Glenn R. 
Published: April 2006

ABSTRACTThe objectives of this study were to evaluate soybean [Glycine max (L.) Merr.] agronomic and quality traits and to examine correlations among traits in an interspecific soybean population. The agronomic traits included maturity, plant canopy height, canopy spread, leaflet length, leaflet width, seed yield, and seed size. The seed quality traits were sucrose, raffinose, and stachyose content. A total of 308 recombinant inbred lines (RIL) were developed from the cross between a large‐seeded Glycine max breeding line (V71‐370) and a small‐seeded Glycine soja Sieb. & Zucc. accession (PI 407162). Normal distribution was observed for most of the traits with a slight skewness towards the G. soja parent. Most correlation coefficients were highly significant, such as the positive correlation between yield and sucrose and between seed size and sucrose. Genotype × environment interaction was significant for all of the agronomic traits but not for sugar contents. Maturity, seed size, and sucrose content were highly heritable, whereas plant height, canopy spread, leaflet length, leaflet width, yield, stachyose content, and raffinose content had relatively low broad‐sense heritabilities. Our findings suggest that the lack of genotype × location effects on sugar content favors progress through selection, but the strong correlation among the sugars may hinder progress in selecting lines that are high in sucrose but low in raffinose and stachyose over different environmental conditions. The information on heritabililty and interrelationships among the agronomic and seed quality traits will be helpful to breeders in constructing their breeding populations and implementing selection strategies.
Modification of Brassica Oil Using Conventional and Transgenic Approaches
Authors: Scarth Rachael , Tang Jihong 
Published: April 2006

ABSTRACTModifying the fatty acid composition of Brassica seed oil to increase its value as a nutritional or as an industrial oil has been a major objective in Brassica breeding programs worldwide. The conventional approach to fatty acid modification has explored natural or induced mutations occurring in the same plant species or close relatives within the Brassica genus. These mutations have been shown to be associated with a few enzymes in the biosynthetic pathway of the fatty acids. Several types of Brassica oil with significantly altered levels of the long chain fatty acid erucic acid (C22:1) and medium chain fatty acids such as oleic acid (C18:1) and linolenic acid (C18:3) have been developed for different end uses through conventional breeding. When the necessary genetic variation is not available within Brassica species, gene transfer by genetic transformation has been applied, as this approach is not restricted by the sexual incompatibility barrier across species. The fatty acids targeted by the transgenic approach included fatty acids with various carbon chain lengths ranging from C8 to C22, with different numbers of double bonds, and with various functional groups such as epoxy and hydroxy fatty acids. A commercial specialty oil with high level of a novel fatty acid, lauric acid (C12:0), was produced as a result of the transfer of a FatB thioesterase gene from a distantly related plant species that produces seed oil with high level of this unusual fatty acid. Considerable progress has been achieved in altering the relative levels of the fatty acids found in Brassica oils for increased health and economic benefits and in developing Brassica oils which contain other unusual fatty acids, mainly through genetic transformation. Although the use of natural or induced mutations in the fatty acid biosynthesis within Brassica remains a valid option for oil modification, the transgenic approach will play an increasingly important role in the development of Brassica oils with altered novel fatty acid composition.
Motion in the Ocean: Some political dimensions of the Free Southern Theatre
Authors: O’Neal John 
Published: April 2006

I remember thinking it strange, when I first started working in the Southern Student Movement in 1962, that there were so many people who, like me, thought of themselves as poets. I wrote a letter (to someone) describing them as poets who had come to the conclusion that the most profound poetry is the poetry of action and movement. When the problem becomes unspeakable then there is simply nothing to say—something must be done.I was in the third wave of “students” who swept through the South with a dream in the early ‘60's. Sit-ins in ‘60, Freedom Rides in ‘61, and in ‘62 the forces gathered around the right to vote. After each wave there was a period of uncertainty while the new motion was in the making. That was a time to survey the damage and chaos which often seem to follow in the wake of dreams.
Organizational Mediation: The Paris Commune Theatre Law
Authors: Suvin Darko 
Published: April 2006

To be radical means to grasp things by the root.And the root for man is man himself.—Karl Marx, “Toward the Critique of Hegel's Philosophy of Law” (1843)And the root for theatre is people showing forth human relations to people.—a corollary (1969)In a certain sense, politics—the organization of people's living together—is always implicit in the theatre performance, whose one defining trait is the presence of figures showing forth human relations in the “holy circle” of the stage. The only matter of special interest here is to find out when, why, and how the normative framework of human relations on the stage begins to differ so radically from a code acceptable to the audience that the performance has to explicate, thematize, and make programmatic its new and strange ethics and politics.
Journey Through the Night: Notes on Burmese Traditional Theatre
Authors: Becker A. L. 
Published: April 2006

There seem to be four major theatrical traditions in Southeast Asia: the Eastern, strongly influenced by Chinese theatre and found in the coastal region of Vietnam; the Southern, previously Hindu-Buddhist and now Moslem, covering parts of Indonesia and Malaysia; the Central, Hindu-Buddhist, found in Thailand, Laos, and Cambodia; and the Western, more strictly Buddhist than the Central tradition and found chiefly in Burma and Ceylon. The traditional theatres of the Southern, Central, and Western areas share many features: they are commonly nightlong performances, done outdoors on a temporary bamboo stage, accompanied by a mainly percussive orchestra; they use either live actors or puppets; and dialogue and action are usually improvised around Indian epics and religious stories.Yet there are important differences even within the geographical areas. For example, in the South, shadow puppets are comparatively small, with articulated arms, and operated by a single puppeteer, or dalang. In the Central area, puppets are large, not articulated, and operated by a number of dancers; the dalang sits at the side of the screen narrating the story.
Building from Tagore
Authors: Mitra Sombhu 
Published: April 2006

An important element in the development of the arts in modern India has been the search for uniquely Indian modes. In theatre, this has led to some experimentation with traditional genres. Sombhu Mitra, the distinguished Bengali actor-director, believes that there are distinctively Indian theatrical values and argues that these can only be realized through a creative engagement with the work of Rabindranath Tagore. For a different view, see the interview with Utpal Dutt (pp. 225-37 of this issue).—AJGI have felt an affinity with Tagore's Raja (The King of the Dark Chamber) since I was very young, even before I understood its meaning. Later I read the play to many people, and I could see that it moved them too. But when I produced it with the Bohurupee Company, some remarked that it lacked the dramatic strength of my earlier production, Oedipus Rex. Oedipus has conflict, suspense, and tension; Raja hasn't.
Collective Creation
Authors: Shank Theodore 
Published: April 2006

The group, rather than the individual, is the typical focus of the alternative society, and this is reflected in the structure of the new theatre organizations, their manner of working, and their theatre pieces. The collective creation of theatre pieces has become the method of conceiving and developing works in the alternative theatre. Society has become increasingly specialized and competitive. This is reflected in an established theatre based on competition and a theatrical method that focuses on individual specialists, such as playwright, director, and star actor. In reaction to the fragmentation of the established society, which for many has become disorienting, the alternative society has sought wholeness. This is evident in many ways, including its focus on group living and group activities, and in its theatre, which is based on the cooperation of a creative collective.Instead of the two-process method of the traditional theatre—a playwright writing a script in isolation and other artists staging it—the new theatre practices a one-process method, wherein the group itself develops the piece from initial conception to finished performance.
Notes on Theatre in West Germany
Authors: Ryan Paul Ryder 
Published: April 2006

Any report on Olympic Theatre would be incomplete without mention of the tremendous amount of theatre activity generated throughout West Germany by the occasion of the Games. For the most part, this activity—some of it officially connected with the athletic events through a huge program called “Olympic Summer”—involved conventional theatre fare, ranging from productions of Brecht's Mother Courage, Büchner's Danton's Death, Wedekind's The Love Potion, Hochhuth's The Midwife, to Walcott's The Dream on Monkey Mountain (performed by the Negro Ensemble Company), the Chinese shadow play San mei hua pan ying, Genet's The Balcony, and Brook's A Midsummer Night's Dream. Although every major German city had a full Summer production schedule, most of the abovementioned plays were staged in or near Munich, Berlin, Augsburg, and Kiel.The purpose of this piece, however, is not to survey all the theatre activity that took place in West Germany this past Summer, but to report in brief note form on some of the more interesting information I gathered on productions, playwrights and directors during the “Olympic Summer.”
The Mask: Abstract Theatre, Primitive and Modern
Authors: Kirby E. T. 
Published: April 2006

“We have forgotten entirely that the primary symbol of the theatre is the mask…. In the mask lies a law, and this is the law of the drama. Non-reality becomes a fact.”—Yvan CollTo the modern temperament and to its artists, in a manner that will undoubtedly remain modern in generations to come, the main stream of theatre art in this century is clearly associated with developments in the visual and plastic arts. The sequence is apparent; from Gordon Craig (and Neo-Romanticism) through the Futurists, Dada, the work of the Russian formalists, the Expressionists, the Surrealists, the Bauhaus, and so on, to the work of the present day that draws in various ways upon this background. We perceive ever more clearly in this work an underlying intention: the creation of an abstract theatre. Its symbol, and that which clearly represents its function and aesthetics, is the mask—or the masked actor whom Craig called the Übermarionette.
Russian Notebook (1934)
Authors: Strasberg Lee 
Published: April 2006

My trip to Moscow in 1934 was a present from Sidney Kingsley, whose play, Men in White, I directed. He wanted to give me something because the play was such a success, and he asked my wife of that time, Paula Miller, what would be the best thing to give me. She said a trip to Russia.For me, it was an unusual opportunity. I had seen the Moscow Art Theatre in New York in 1923 and 1924. This was the beginning of my engagement with the practical problem of creative acting. I'd read a great deal, but until I met the people from the Moscow Art Theatre, some of whom remained in New York to open a laboratory theatre, I had little actual awareness of the training methods used at the Moscow Art Theatre.
Electro-Acoustical Space
Authors: Clauser John 
Published: April 2006

The perception of space as primarily visual and “pure” enters man's consciousness as a fairly late development. In the Western world the transition from the multi-sensuous space of the nonliterate societies to the visual space of our recent past occurs with the geometry of Euclid. But the purely visual perceptions of Western history can no longer function as the only clues in perceiving a discontinuous and multileveled environment. High-speed, space-time, simultaneity, and the rise of the pervasive, ephemeral technologies of light and electronics have elevated acoustical values in our society. Auditory phenomena emerge in our culture as perceptual agents for defining space. Sound is existential: it connotes existence and the presence of activity, something going on. The depth and dimension of sound unite people as nothing else does.The return of acoustical values to Western society should be a signal to practitioners of theatre to become aware of the audience's newly tuned-in acoustical perceptions.
Political Theatre in France Since 1968
Authors: Kourilsky Françoise , Champagne Lenora 
Published: April 2006

The events of May, 1968, in France spurred a re-examination of the relationship between art and politics, of the function of the artist and the role of theatre in our society. After May, 1968, with its attacks on institutions for distributing a culture that is not a “culture in action sprung from life,” theatre artists sought a way to work outside the established structure, which they felt was separate from life and whose rigidity demanded a particular kind of production and hindered experimentation.The desires to become more directly involved with life; to place the accent on the process of creation rather than on the final product; to establish a new kind of relationship with the spectators, considered on many different levels as“potential creators”; to insist on the actor's creativity; to rethink the role of the director as well as the role of the playwright resulted in new forms of political-popular theatre in France.
Rote Rübe: “Terror”
Authors: Calandra Denis 
Published: April 2006

Rote Rübe is a theatre collective made up of three women and four men in their twenties, who live and work together in the Munich suburb of Grünwald They are dedicated, in their own words, to producing “political theatre that is fun and that makes identification possible.” These performers, who profess a Marxist orientation came together as acting students at the Otto Falckenberg Drama School in Munich They then grew disenchanted with the conservatory system, which they have described as “a factory for the delivery of material to subsidized theatres,” and gradually worked out their own methods, techniques, and principles.They established their independent collective in December, 1971. The collective's chief performance space is the Munich Poplokal, or rock club, Crash, which has an audience of young apprentices, working class youths, students, and local residents. To further their aim of reaching “a public drawn from the maximum variety of social strata, and above all a public that doesn't go to the traditional theatre,” they have refined their theatrical means, reducing them to a flexible minimum, so that productions can be taken to community and youth centers, public squares, and cafes.
Foregger and The Dance of the Machines
Authors: Gordon Mel 
Published: April 2006

Nikolai Foregger (1892-1939), christened Nicholas Baron Foregger von Greiffenturn, the sole descendant of an aristocratic Russo-German family, was one of the most extreme exponents of mechanization and abstraction in the Soviet theatre and dance during its first decade. Foregger belonged to that unique generation of Russian writers, artists, directors, and dance-masters who, born in the 1890's, quickly reached their artistic maturity in the early Twenties. Writers and artists like Mayakovsky, Sergei Tretyakov, Isaac Babel, Varvara Stepanova, and Alexander Rodchenko are among the best known of that era. In the fields of theatre and dance, there were Foregger Eisenstein, Sergei Radlov, Boris Tikhonovich, Boris Ferdinandov, the FEKS group Vera Maya, and Kasyan Goleizovsky. Together, despite acknowledged differences in motivation and style, these young artists accepted the critical appellative Constructivist to describe their art.With the exception of Eisenstein (see T61) and Meyerhold, who was judged according to other standards, the scenic work of the Constructivists is not well known although at the time of the Constructivist period (1920-1924), many of their productions and techniques were considered more radical than Meyerhold's and in fact prefigured many of his own post-revolutionary innovations, such as Biomechanics and mobile decor.
The Puppet Theatre of Robert Anton
Authors: McClelland Maurice 
Published: April 2006

The conditions of a solitary bird are five:The first, that it flies to the highest point;the second, that it does not suffer for company,not even of its own kind;the third, that it aims its beak to the skies;the fourth, that it does not have a definite color;the fifth, that it sings very softly.Saint John of the CrossSongs of Light and LoveWorking alone in his one-room New York apartment, Robert Anton has built and continues to perform an event that cuts across the problems and history of making theatre. It is hard to say who “makes” this theatre. Anton has built “actors” with heads no bigger than an inch and a half, whose hands are the size of fingernails.
The Friends’ Roadshow
Authors: Levy Micky 
Published: April 2006

Scaffolds were placed in the center of the auditorium, and five raised platforms were set around the perimeter of the space: two had curtains hanging from makeshift wires across the back, another was a booth stage with a framework of poles on which fabrics were draped, one stage was used by the orchestra, and one was set up as-a boxing ring. The audience seated themselves on top of, under, and around the central construction. They were surrounded by the stages, contained by them. A mirrored ball hanging overhead rotated slowly, casting colored light over the entire space.The orchestra played “Yesterday.” Five people in costumes emerged onto the largest of the playing areas and applauded the audience, who promptly responded with whoops and cheers.
Nuyorican Theatre
Authors: Morton Carlos 
Published: April 2006

Hector Rodriquez, at age thirteen, was considered a “hopeless incorrigible” by his teachers at a “600 School” for problem children in New York City. Rodriquez could not read or write, nor did he show the slightest inclination for mathematics or science. He spent his days playing hooky on Lower East Side street corners, or else he would go up to Times Square to hustle money.Rodriquez seemed destined to lead the life of the hundreds of other players, pushers, pimps, and prostitutes that infest the Times Square area until he met Miguel Pinero, an award-winning Nuyorican (shorthand for New York and Puerto Rican) playwright—himself a former child of the barrio.“My brother Louie and I were arguing, and this other dude comes up and punches me in the eye, and I start to cry, and this other dude comes up and says he's Miguel Pinero, and he buys us some hot chocolate and asks if I'd like to be in a play written by him, and I says ‘sure,’ and next thing you know I'm working onstage in Sideshow,” said Rodriquez.
Robert Wilson and Therapy
Authors: Simmer Bill 
Published: April 2006

As Robert Wilson's theatre is more widely publicized, he is inadvertently developing a reputation as an experimental “therapist.” Several newspaper articles have pointed to his work with brain-damaged children in Texas, his early involvement with Headstart programs and his work with the aged and terminally ill at Goldwater Memorial Hospital. Although this work was done many years ago, his reputation as a “therapist” continues to grow because of his continuing collaboration with Christopher Knowles, a brain-damaged youth, and, earlier, his work with Raymond Andrews, a deaf-mute. However, Wilson is not a therapist and does not consider himself one.According to Webster, therapy is “a remedial treatment of bodily disorder” or “an agency (as treatment) designed or serving to bring about social adjustment.” If we accept this definition, then what Wilson has done is very different; in fact, almost the opposite.