bluuebunny/crossref_metadata_2025_split huggingface dataset:
Electromagnetic Interference (EMI) and Arrhythmic Events in ICD Patients Undergoing Gastrointestinal Procedures
Authors: GUERTIN DANETTE , FAHEEM OSMAN , LING THEA , PELLETIER GLENN , MCCOMAS DAVID , YARLAGADDA RAVI K. , CLYNE CHRISTOPHER , KLUGER JEFFREY 
Published: June 2007

Background:

The objective was to determine the effect of electromagnetic interference (EMI) in patients undergoing gastrointestinal endoscopy. The implantable cardioverter‐defibrillator (ICD) is the primary therapeutic modality for patients at risk for sudden cardiac death. One potential problem with ICDs is interactions with electrical devices and medical procedures causing EMI or triggering arrhythmic events. Endoscopy frequently employs electrocautery (EC) for diagnosis and treatment of gastrointestinal diseases. Current guidelines advise inactivating ICDs before any surgical procedure. There is limited information on management of ICDs during endoscopy with or without EC. We prospectively evaluated patients with ICDs undergoing endoscopic procedures at our institution.
Methods and results:

Forty‐one ICD patients underwent 52 gastrointestinal endoscopies over 17 months. The mean age of the population was 66 years (51–83). There were 28 men and 13 women. Thirteen patients had single chamber devices, 25 had dual chamber devices, and 2 had biventricular ICDs. The mean tachyarrhythmia detection rate programmed was 164.7 bpm (125–188). Eighteen procedures (43.9%) required biopsy, coagulation, or polypectomy. Of these, 10 (55%) required the use of EC. Only unipolar EC with mean current 19.6 mA was used. All ICDs were programmed to detection‐only with therapies off. Sensitivity was left at nominal programmed settings. Post procedure interrogation showed no detection of EMI or tachyarrhythmic events.
Conclusions:

Our study shows no EMI or arrhythmic events triggered during endoscopic procedures in patients with pectorally implanted transvenous ICDs. Routine practice of programming ICDs off for gastrointestinal procedures may not be necessary. However, larger studies are needed before change in current recommendations.
Intramyocardial Pacing and Sensing for the Enhancement of Cardiac Stimulation and Sensing Specificity
Authors: ASIRVATHAM SAMUEL J , BRUCE CHARLES J , DANIELSEN ANDREW , JOHNSON SUSAN B , OKUMURA YASUO , KATHMANN EVA , PACKER DOUGLAS L , FRIEDMAN PAUL A 
Published: June 2007

Background:

Intracardiac electrodes create an “antenna” capable of unintentionally recording and stimulating tissue beyond the chamber in which they are positioned, resulting in far‐field R wave oversensing in pacemakers and inappropriate detection in defibrillators. This feasibility study sought to determine whether a specially constructed lead with two distal totally intramyocardial electrodes could overcome these limitations.
Methods:

Two mongrel dogs were anesthetized and a median sternotomy performed. Epicardial intramyocardial pacing and sensing function was assessed and compared to standard active fixation pacing and sensing placed at the same atrial and ventricular sites. Right ventricular pacing was also assessed.
Results:

For the novel intramyocardial lead, the average R wave amplitude was 7.2 mV, compared to an average R wave of 8.4 mV for the standard active fixation lead placed at identical ventricular sites; P‐waves were also similar. Cross‐chamber sensing was present in the ventricle and atrium with the standard lead, and absent with the intramyocardial lead. The average pacing threshold was 0.7 mA at 0.2 ms for the novel lead compared to 1.1 mA for the standard lead. With the standard lead, phrenic stimulation was seen at threshold (cathode distal) and at 3 mA (cathode proximal electrode). No phrenic stimulation was seen with the novel intramyocardial lead despite outputs up to 20 mA at sites located 3–5 mm from the phrenic nerve.
Conclusion:

Totally intramyocardial pacing is feasible, and results in site‐specific pacing and sensing function. This may eliminate far‐field signal oversensing and phrenic stimulation in future devices.
Alternate Site Atrial Pacing in the Young: Conventional Echocardiography and Tissue Doppler Analysis of the Effects on Atrial Function and Ventricular Filling
Authors: ZILBERMAN MARK V , KARPAWICH PETER P 
Published: June 2007

Background:

Although the right atrial appendage (RAA) is typically used for atrial pacing lead implant, recent studies have shown benefits of alternate site atrial pacing (ASAP) in the elderly. However, comparable studies in the young are lacking.
Methods:

To investigate effects of ASAP on cardiac function and atrioventricular mechanical interactions in the young, 26 subjects (ages 10 to 23 years) with normal cardiac anatomy, function, and atrioventricular node conduction underwent echocardiography during electrophysiology studies while in sinus rhythm (NSR), and with temporary pacing from high right atrium (HRA), RAA, mid septal right atrium approximating Bachmann's bundle (BB), and left atrium (LA) via the distal coronary sinus (CS). After a paced steady state of 10 minutes, left atrial total and systolic ejection fractions, color‐guided mitral inflow, and annular tissue Doppler indices were obtained. Left ventricular ejection fraction and myocardial performance indexes (MPI) were calculated.
Results:

The total and systolic LA ejection fractions were higher during the NSR compared to all ASAP. Mitral inflow velocities changed significantly with ASAP. The passive/active ventricular filling ratio (E/A) deteriorated from NSR to HRA to BB to CS. There were significant changes in late diastolic tissue Doppler velocities during ASAP compared to NSR. The MPI during ASAP differed from those during the NSR. HRA and Bachmann bundle pacing provided better MPIs than RAA or CS pacing.
Conclusion:

The location of atrial pacing leads has an acute impact on cardiac function and atrioventricular mechanical interaction. Pacing close to sinus node location may be beneficial in the young.
Combined Ventricular Endocardial and Epicardial Substrate Mapping Using a Sonomicrometry‐Based Electroanatomical Mapping System
Authors: AVILA ANDRE D' , THIAGALINGAM ARAVINDA , RUSKIN JEREMY N , REDDY VIVEK Y 
Published: June 2007

Background:
Substrate mapping using a magnetic electroanatomical mapping system (MEAM) has been shown to accurately delineate the location/extent of scarred myocardium. This study examined the ability of a sonomicrometry‐based electroanatomic mapping system (SEAM) to render endocardial and epicardial substrate maps of infarcted ventricular myocardium.
Methods and Results:
In 7 swine with healed myocardial infarctions, combined epicardial and endocardial left ventricular (LV) substrate maps were created with both SEAM and MEAM mapping systems using 246±68 and 244±44 points respectively. Scarred myocardium was identified based upon bipolar electrogram amplitude < 1.5 mV, and radiofrequency ablation lesions were delivered to the scar border as defined by the sonomicrometry mapping system. The LV endocardial chamber volume as defined by SEAM (125±46 ml) correlated well with that defined by the MEAM (137±45 ml, r=0.77, p < 0.05). The area of infarcted tissue as determined by SEAM was highly correlated with that determined by gross pathology (r=0.96 for endocardial scar and r=0.92 for epicardial scar p < 0.05). The scar area calculated by the SEAM system also correlated well with the scar area determined by the MEAM system (0.91 for endocardial scar and 0.90 for epicardial scar p < 0.05). Finally, the sonomicrometry‐based system was able to guide the placement of radiofrequency ablation lesions to the borders of the scar.
Conclusions:
This study demonstrates that the sonomicrometry‐based mapping can accurately reconstruct three‐dimensional voltage maps of the endocardial and epicardial ventricular surfaces and guide the placement of ablation lesions along the scar border zone.
The Demarcation of Literature and the Reader
Authors: Margolin Uri 
Published: June 2007

The article first considers the various senses of the terms “litera ture” and “work of literature,” as these terms are employed by the contemporary reader. Four major senses are distinguished:(a) “literature” by form, referring to specific formal textual features;(b) “literature” by value, referring to complex textual qualities or effects considered valuable by the reader;(c) “literature” by status, referring to a special cognitive and illocutionary status of the text, i.e. “fictionality;”(d) “literature” by reception, referring to a special mode of reception of the text.The article then discusses in detail the nature of (a) through (d), and the various subdivisions of each, and proposes sets of rules governing the actual employment of the term “literature” in each case. It goes on to discuss the interrelations between these different sets of rules, and concludes with a description of several borderline cases of “literature” and the role of context in deciding their status.
The Metaphysical‐Religious Dimension of Günter Eich's Träume
Authors: Martinson Steven D. 
Published: June 2007

“Wacht auf, denn eure Traume sind schlecht Bleibt wach, weil das Entsetzliche näher kommt.”Although Giinter Eich's radio play, Träume (1951), has been readily discussed from a political‐historical perspective, the metaphysical‐religious dimension of this work has received only peripheral attention. As a work of art, this play constitutes far more than a mere protest against the dreams of restoration which Eich and his countrymen shared shortly after World War II. It is a profound statement on the exigencies of life in general.In addition to revealing the metaphysical dimension of the play, this essay also focuses upon the existentialistic predicament of man as reflected in each of the Dream segments. The apparent contradiction between the express belief in the freedom of the individual to act, and the recurrent image of man's basic imprisonment in an alienating world, is resolved only when the polarity between the political‐historical and metaphysical‐religious dimensions at work in Eich's language is revealed.
Kierkegaardian doubles in: Crime and Punishment
Authors: Greenway John L. 
Published: June 2007

Kierkegaard and Dostoevsky apparently had no knowledge of each other, yet Kierkegaardian concepts can be of great use in elucidating the complexities of Dostoevsky's novels, particularly Crime and Punishment. As an instance of this, in his Journal from 1834 Kierkegaard considered dramatizing the “idea of a master‐thief”; the character sketches he gives are strikingly similar to Raskolnikov, Sonia, Pulcheria Ivanovna and Marmeladov. Furthermore, Dostoevsky visited Copenhagen for a week while drafting the novel. After this visit, he drastically altered the manuscript, adding doubles to Raskolnikov strongly Kierkegaardian in their conception.No influence is being asserted here, however; rather, I wish to show how Kierkegaard's concept of the three stages of existence can clarify the relationships among Raskolnikov's principal doubles. Though both authors abandon endings which synthesize antinomies, the impossibility to synthesize Raskolnikov's doubles into a unified ending posed problems for Dostoevsky as novelist that the either/or of life's stages never did for Kierkegaard as philosopher.
Kotzebue und Sheridan: Erfolgsstrategien von 1799
Authors: Brunkhorst Martin 
Published: June 2007

Zusammenfassung Sheridans Kotzebue‐Bearbeitung The Stranger (1798) und stärker noch die in der nächsten Spielzeit folgende Bearbeitung von Die Spanier in Peru unter dem Titel Pizarro stellen Theatererfolge von bis dahin unbekannten Ausmaβen dar. Durch die zahlreich überlieferten Zeugnisse sowohl der Produktion wie auch der Rezeption des Pizarro wird eine engmaschige Dokumentation über Sheridans Erfolgssteuerung und Erfolgsstrategien für dieses Stück möglich. Sie reichen von der Präparation der Publikumserwartung schon lange vor dem Abschluβ der englischen Textfassung über die ‘public relations'‐Bestrebungen während der aufwendigen Inszenierung bis hin zur revidierten Druckfassung, zu Kotzebue‐Anthologien und Teildrucken des Stücks, die auch noch lange nach der Premiere das unverminderte Interesse an den Pizarro‐Aufführungen unterstützen.In seinem Bestreben um eine möglichst vollständige Entsprechung von Theateraufführung und Publikumsgeschmack bemüht sich Sheridan um den ständigen Dialog mit den Zuschauern. Noch nach der Premiere wird ständig an der Pizarro‐Inszenierung gefeilt; alle Passagen, die keinen ungeteilten Beifall erhalten, werden gestrichen. Ein solches Dichtungsverständnis, das auf Stabilisierung und Konformität mit der Publikumserwartung zielt, scheut auch nicht vor Trivialität zurück. Schon Kotzebue selber, aber ebenso seine englischen Bearbeiter, vertreten auch im expositorischen Schrifttum diese Dichterintention. Sie erklärt weitgehend die Animosität und Polemik, denen die Werke Kotzebues in Deutschland wie England bei einem gebildeten und ästhetisch verantwortungsbewuβtem Publikum ausgesetzt sind.
Kleist's Der zerbrochne Krug and Romanticism
Authors: Ward Mark G. 
Published: June 2007

In essence this article is concerned with two questions, firstly the position of Der zerbrochne Krug within the main corpus of Kleist's writing and thought, and secondly with the problematic issue of Kleist's general position within the dominant intellectual and artistic movement of the age in which he was writing, namely Romanticism.Three areas of Der zerbrochne Krug are analysed: the experience of the characters, especially Adam; the structure of the action; and the use of symbol, and it is argued from this analysis that the unifying centre of the work is to be found in the tension between subjective and objective, or free and necessary perception and response. This pattern is then related to Romantic theory of comedy in an attempt to demonstrate the ways in which Kleist significantly deviates from the central tenets of Romantic thought as embodied in that theory. On the basis of that contrast parallels are then drawn between Der zerbrochne Krug, Kleist's vision in general and the kind of experience of the years around the turn of the century which informs, for example, the genre of the fate tragedy.
Histoire littéraire de la France: Un mode nouveau d'exposé de la litterature française?
Authors: Röhl Magnus 
Published: June 2007

Cet article essaye de présenter, de façon succincte, d'une part le débat, français surtout, concernant les problèmes de l'historiographie littéraire, d'autre part le dernier grand ouvrage qui raconte l'histoire de la littérature française: Histoire littéraire de la France (HLF).Il semble qu'on puisse dégager du débat contemporain deux modèles d'historiographie littéraire qui pourraient succéder à la pratique actuelle fort contestée: l'un «sociologique» liéà l'histoire sociale, l'autre «évolutif» ou «transformationnel»à la suite des fromalistes russes. Ayant rendu compte aussi des options capitales formulées dans quelques manuels français et du programme novateur de HLF, j'essaye de répondre à la question initiale en comparant quatre chapitres de cet ouvrage aux chapitres correspondants dans une vingtaine de manuels français d'époques différentes. Il en ressort que HLF, tout en respectant à bien des égards le cadre traditionnel de l'histoire littéraire, apporte vraiment du nouveau: grâce a sa façon de présenter l'histoire dans la littérature et la littérature dans l'histoire, grâce à sa dimension polyhistorique et à ses analyses idéologiques. D'une certaine façon, ce manuel marxisant ‐ et non pas marxiste ‐ nous offre l'histoire de la France à travers ses deux littératures: celle qui est consacrée par la tradition et celle qu'on dit populaire.
Le Grand Meaulnes: un imaginaire aporétique
Authors: Tritsmans Bruno 
Published: June 2007

L'essai s'interroge sur le système de la narration du Grand Meaulnes, et, plus exactement, sur le rôle précis de François Seurel, qui participe à l'aventure de Meaulnes en tant que témoin latéral, mais infléchit celle‐ci, en la racontant, dans le sens de sa propre problématique. La narration se révèle donc interprétative.Le statut de la parole est mis en évidence par l'exclusion entre l'aventure et la parole à un double niveau, celui de la diégèse et de la narration (l'énonciation). L'aventure n'existe que différée, comme le montre encore le second rapport d'exclusion entre aventure et réel. Raconter l'aventure présuppose sa destruction préalable, mais permet à François de se placer au premier plan. Ce roman est donc construit sur un paradoxe: c'est une tentative de la part de celui qui est exclu (en deçà) de l'aventure de rejoindre celle‐ci, opération qui ne peut se solder que par un échec.Les motivations de cet acte manqueé s'avèrent être de l'ordre de l'inconscient: mis à part son rôle de libérateur de François, Meaulnes brise la clôture familiale du jeune François, axée sur la mère; c'est l'objet de la quête de Meaulnes, Yvonne, qui est appeléà combler le vide laissée par la mère. Sublimation manquée, comme le montre la mort d'Yvonne…Cette succession d'espoir et de déception qu'a suscité chez François l'aventure de Meaulnes se traduit notamment dans la valeur variable que prend dans ce roman l'explicitation du code, et, d'une façon plus générale, en un mode de discours particulier, qui assigne à ce roman sa place au seuil de la modernité.
Alfred de Vignys Reflexion über die Literatur
Authors: Brabant Roger 
Published: June 2007

Vigny gehört nicht nur zu den gröβten Poeten, sondern erweist sich auch als ein Dichter, der tiefgründige Überlegungen über die Literatur anstellt.Auf die Frage, warum er schreibt, gibt er vier Antworten: 1. Es ist für ihn ein absolutes Bedürfnis. 2. Es ermöglicht ihm, dem existentiell Abscheulichen und sich selbst zu entkommen. 3. Es bringt ihm die gröβte Voluptas. 4. Er trachtet dadurch, die Menschheit zu belehren und zu verbessern.Bevor er zur Feder greift, sollte der Künstler vier Bedingungen erfüllen: 1. Das Leben kennen. 2. Gleichzeitig neue, wahre und poetische Gedanken konzipieren. 3. Vom Enthusiasmus beflügelt sein. 4. Über kritischen Sinn verfügen.Was das Verhältnis von Dichtung und Wahrheit anbetrifft, soll nur die philosophische Wahrheit zählen, und zur moralischen Deutung der Geschichte soll der Schriftsteller sich nach dem Wahrscheinlicheren richten.Der Stil entsteht nicht nur aus einer bestimmten Anwendung von Sprachmitteln sondern aus dem Zusammenwirken von Inhalt und Form.Auf dem Gebiet des Theaters wirkt Vigny an der Erneuerung dieser Gattung mit, indem er an den Regeln der Klassik rüttelt und den Weg zum romantischen Drama mitbereitet.Beim Vergleich zwischen Versen und Prosa bezeugt er seine Begeisterung für die gebundene Rede, ohne jedoch die Vorteile der Prosa zu übersehen.
Rousseau, Camus et le nihilisme: Sur l'actualite de Rousseau
Authors: Schøsler Jørn 
Published: June 2007

Le propos de la présente étude étant de cerner l'actualité de Rousseau («l'annee Orwell»), on part de la crise actuelle des valeurs ‐le nihilisme du a la «réification» croissante de l'homme et de la nature après «la mort de Dieu» ‐ pour montrer le double rôle joué par Rousseau dans la genèse de l'actuelle impasse morale de l'humanité.A la fois contestataire du Progres scientifique (dans le 2. Dis‐cours) et théoricien de la société totalitaire (dans le Contrat Social), Rousseau dénonce la Raison «libre» dégénérée par la société libérate, lui substituant la Raison «totalitaire» régénérée par son utopie sociale. Mais s'apercevant ‐ dès le 2. Discours (1754) ‐ des conséquences néfastes du sensualisme matérialiste qui constitue l'a priori métaphysique des Lumières, il défend tout au long de son oeuvre les valeurs spiritualistes propres à l'homme. C'est ainsi que sa protestation morale ‐ notamment dans la Profession de Foi du Vicaire Savoyard (1762) ‐ nous permet de le rapprocher de Camus malgré la critique dirigée par celui‐ci contre le Contrat Social dans L'Homme Révolté. Camus n'a pas vu que celui qu'il regardait comme le principal responsable du nihilisme moderne en a été au fond le premier contestataire sérieux par sa réfutation du «pyrrhonisme» encyclopédiste.
Affinitäten und Diskrepanzen zwischen Rainer Maria Rilke und Nicolas Born
Authors: Saalmann Dieter 
Published: June 2007

Trotz offensichtlicher Gegensätzlichkeiten lassen sich grundlegende Übereinstimmungen in der Lebenshaltung zwischen Rilke und Born nicht von der Hand weisen, insbesondere was die Rolle der Subjektivität als politische Aussage im Hinblick auf die sich aus der Einsicht in die wesentliche Unwirklichkeit des Empirischen ergebende Realitätsdefizienz des Ichs anbetrifft.Für beide Autoren erweisen sich dabei des Großstadt‐Motiv und die hiermit verbundenen ontologischen Aspekte als daseinbestimmende Faktoren. Letztere äußeren sich sprachlich und thematisch in einer analogen Erlebnisweise, die in Rilkes Aufzeichnungen ihre klassische Formulierung erhalten hat. In dem Sinne fügt sich Boms Protagonist fast nahtlos in jene Tradition eines metaphysischen ennui ein, wie sie von Rilkes Malte und Sartres Roqentin in La Nausée vertreten wird.Andererseits versagt Borns Alter ego im Unterschied zu dem »Dänen« bei dem Versuch, sich zu einer künstlerischen und folglich auch zu einer existenziellen Anverwandlung der Empirie durchzuringen. In Boms Roman ist also der Rilkesche Ästhetisie‐rungsimperativ gegenüber den Ansprüchen des Akzidentellen angesichts der überwältigenden Präsenz der »Megamaschine,« d.h. des rein Materiellen zum Scheitern verurteilt.Im übrigen bildet Die erdabgewandte Seite der Geschichte unter dem Gesichtspunkt des Solipsismus einen Bestandteil jener zeitgenössischen »Neuen Subjektivität,« deren Verinnerlichungsdrang gewisse Praktiken aufgreift, die seit der Jahrhundertwende unter anderem in Rilkes Aufzeichnungen ihren paradigmatischen Ausdruck gefunden haben.
‘Ich habe ihm das Beil nicht geben können’: the Heroine's Failure in Hofmannsthal's Elektra
Authors: Robertson Ritchie 
Published: June 2007

SummaryDoes Elektra's death represent a triumph or a failure? And can Freudian insights help to explain her behaviour?Hofmannsthal already knew Freud's psychoanalytic interpretations of Oedipus Rex and Hamlet, and adapted Sophocles' Electra in a similar spirit. Sophocles' play is itself a study in individual and sexual psychology, and hence particularly suitable for psychoanalytic reinterpretation. Hofmannsthal's Elektra is a study in repressed sexuality, indebted also to Freud/Breuer, Rohde, and Hamlet. Elektra's unconscious sexual attachment to her father and identification with her mother prevent her from assisting Orest's revenge by giving him the axe she had earlier concealed for this purpose. This parapraxis means that her death represents an admission of failure.Finally, affinities between Elektra and other works by Hofmannsthal are discussed.