bluuebunny/crossref_metadata_2025_split huggingface dataset:
Whole-heart coronary magnetic resonance angiography: value for the detection of coronary artery stenoses in comparison to multislice computed tomography angiography
Authors: Maintz D. , Ozgun M. , Hoffmeier A. , Quante M. , Fischbach R. , Manning W. J. , Heindel W. , Botnar R. M. 
Published: October 2007

Background: Coronary magnetic resonance imaging and computed tomography are being discussed as alternatives to catheter angiography in the detection of coronary artery disease. Yet, only few comparative validations have been performed. Purpose: To compare steady-state free precession whole heart coronary magnetic resonance imaging (MRI) with multidetector coronary computed tomography angiography (CTA) for the detection of coronary artery disease using catheter angiography as the standard of reference. Material and Methods: Twenty patients with known CAD were examined with navigator (NAV) gated and corrected free-breathing 3D balanced gradient echo whole heart coronary MRI and coronary CTA. Subjective overall image quality (4 point scale, 1 = excellent), visibility of vessel segments and accuracy for the detection of significant coronary stenoses (>50%) were compared to coronary x-ray angiography by two blinded readers. Results: Median of subjective image quality was 3 for coronary MRI and 2 for coronary CTA. Of a total of 209 segments, 67 segments (32%) had to be excluded from the evaluation by coronary MRI (61 due to insufficient image quality and 6 due to stent artifacts). For coronary CTA, 31 segments (15%) had to be excluded from the evaluation (12 due to insufficient image quality, 15 due to severe calcifications superimposing the vessel lumen and 4 due to stent artifacts. Segment based values for the detection of ⩾50% diameter coronary x-ray angiographic stenoses were: specificity: MRI 88%, CTA 95%; sensitivity: MRI 82%, CTA 84%; diagnostic accuracy: MRI 87%, CTA 93%; positive predictive value: MRI 68%, CTA 77% and negative predictive value: MRI 94%, CTA 95%. Conclusion: Coronary WH-MRI was inferior to coronary CTA regarding image quality and number of evaluable segments but both had similar diagnostic value for the detection and exclusion of CAD when only evaluable segments were included.
Babel in Birmingham
Authors: Farmer Penelope 
Published: October 2007

The speakers here all live in Oak View, a hostel for people with mental problems, in Moseley, Birmingham. As the locally notorious Palm Court Hotel, it was one of many profitable private dumping grounds for ex-patients of the asylums closed down under the policy of Community Care. Some older residents have lived there nearly 30 years. With up to 70 residents, Oak View is now considered too big and institutional. Everyone, even the mentally ill, is thought better off living closer to the norm, the nuclear household. Oak View has its problems. But it works well for people too mentally frail to live alone, or not sociable enough to cope within a smaller group. Inside it, a person can both hide and have company. A fundamentally benign place, it tolerates eccentricity of all kinds. Mental illness is not romantic here. There are no suicidal poets. Most residents have wretched histories, feel social rejects; some not only look but smell odd. In a few cases they make no apparent sense. But the psychiatrist RD Laing pointed out that if you really listen to the so-called mad, sense always emerges. After seven weeks living in Oak View I can confirm that. Some told their stories coherently, if obsessively. Some did not. But the stories came across anyhow. Without exception they confirmed that being mentally ill is horrible — and not as far from the rest of us as we hope. This may be the reason why such voices are rarely, if ever, heard.
Point of Arrival
Authors: Brown Cynthia 
Published: October 2007

Within the present decade, and thanks largely to an infiux of Asians from Africa in the late 1960s and early 1970s, Leicester, a modest and somewhat unprepossessing town in the Midlands - what has become known to the tourist trade as 'The Heart of England' - will be home to the UK's first majority non-white population (Index, 3/02). Not that Leicester is any stranger to migration: since at least the nineteenth century, the city's prosperity has been built on the labour of incomers from less fortunate parts of the UK as well as from the former empire. For some years, the East Midlands Oral History Archive at Leicester University has been recording the personal histories of many of the migrants. Below, we present a range of their voices.
A Press Charter for Britain?
Authors: Scott George 
Published: October 2007

Efforts to introduce a ‘closed shop’ in the British newspaper industry have led to a great deal of controversy over the past two years. Also under discussion has been the question of a Press Charter, which some journalists feel is essential under the circumstances if the freedom of the British press is to be safeguarded, while others are opposed to it. Below we print an abbreviated version of a debate broadcast on the BBC programme ‘The Editors’ on 10 October 1976. The participants included two representatives of the National Union of Journalists, the General Secretary of the rival Institute of Journalists, the editors of two leading London papers, spokesmen for the Guild of British Newspaper Editors, the Newspaper Publishers Association and the Newspaper Society, as well as a foreign observer of the British scene in the person of an American correspondent in London. The discussion was chaired by George Scott, editor of the BBC'S weekly magazine The Listener.
Uruguay—Getting Rid of Critics
Authors: Torrents Nissa 
Published: October 2007

Until the 1960s, Uruguay enjoyed a unique reputation in Latin America. In a continent renowned for its political instability, extremes of wealth and poverty and endemic violence, Uruguay was for many years an island of parliamentary democracy, with respect for civil liberties and human rights, advanced social welfare legislation and a high per capita income. In this atmosphere, intellectual and cultural life flourished, Uruguay was a haven for persecuted intellectuals from the rest of the continent, educational standards were high and the country boasted the lowest illiteracy rates in the continent. The weekly Marcha was widely regarded as the best of its kind in Latin America. This picture began to change in the sixties. Economic stagnation, a rising rate of inflation and rapidly declining living standards led to intensified social conflict and political tensions. Uruguay's traditional liberal values were gradually undermined as the state became increasingly more authoritarian. Under the government of Pacheco Areco (1968–71), press censorship was introduced, emergency powers came into almost continuous use, and cases of police brutality against students and striking workers became more and more frequent. The emergence of an urban guerrilla organisation, the Tupamaros, in the late 1960s increased this climate of repression. The civil/military coup of 1973 was thus a culmination of a long process. That year saw the closing of parliament, the banning of political parties and trade unions and military intervention in the university. The persecution of the opposition, whether liberal, democratic, conservative or socialist, has since involved the imprisonment, torture and forced exile of vast numbers of intellectuals, a process which has been described as ‘cultural genocide’. The following article briefly outlines what has taken place since the coup. It is accompanied by some short stories, written by Eduardo Galeano, who now lives in exile in Spain.
Introducing ‘Zapis’
Authors: Barańczak Stanislaw 
Published: October 2007

In March this year a group of leading Polish writers launched a new literary venture to circumvent the censorship in their country which, though less oppressive than in most other East European states, still prevents them from freely expressing their ideas. Seventeen novelists, poets and essayists contributed to Zapis, a collection of banned writings which is to be followed, at irregular intervals, by further volumes. Including such famous authors as Jerzy Andrzejewski, Kazimierz Brandys, and the late doyen of Polish letters, Antoni Slonimski, the group asked Index on Censorship to publish the book for them. Zapis I thus came out, in Polish, at the end of May and will in the near future also appear in German, French and English. A press conference was held in London on 26 May to announce this new development in the struggle of Polish writers to free themselves from the fetters of official censorship. Below, we publish Stanislaw Baranczak's introductory article to Zapis I, in which he explains the reasons behind its compilation, as well as the various meanings of the title.
Spirit Which Refuses to Die
Authors: Sepamla Sipho 
Published: October 2007

One of the most interesting of South African poets, Sipho Sepamla recently published his third collection of verse, The Soweto I Love (Rex Collings, London and David Philip, Cape Town). A teacher by training, he now works for an East Rand company; apart from poetry he also writes short stories and edits two literary magazines. In an interview with the novelist Stephen Gray, broadcast last June by the African Service of the BBC, Sepamla discussed the problems of presentday Black writers in South Africa, showing why poets have now become the chief spokesmen for Black consciousness, represented in earlier years by writers of fiction.
My philosophers
Authors: Vaculík Ludvík 
Published: October 2007

Karel Kosík, a young Marxist philosopher, played an important role in the intellectual ferment which led to the abortive attempt to liberalise the Czechoslovak political system in 1968. Since the invasion in August that year he has been prevented from working in his field and from publishing his work. June 1967 Kosík celebrated his 50th birthday. His friend, Ludvík Vaculík, marked the occasion by writing a feuilleton which was included in ‘Padlock Publications’, a typescript literary collection circulated among proscribed intellectuals. Though no doubt unpopular with the authorities, Padlock has so far been tolerated by them, with the result that while people found copying these texts might get into trouble, the authors themselves have remained unscathed, though subject to frequent harassment, house searches and police interrogation. The arrest of the poet Jiři Gruša in June (see entry in Index/Index, p. 65) is an ominous sign that after five years of relatively untroubled existence, Padlock may be facing a more difficult future.
Poet of Paradoxes Andrè Brink & Christopher Hope
Authors: Brink Andrè , Hope Christopher 
Published: October 2007

In Africa Even the Flies Are Happy by Breyten Breytenbach, translated by Denis Hirson John Calder 148pp £4.95 and death white as words by Breyten Breytenbach, edited by A. J. Coetzee Rex Collings 180pp £5
Prison poems
Authors: Polari Alex 
Published: October 2007

During the worst years of repression (1970–3) the number of political prisoners in Brazil reached an estimated 1,400. While this is not high in comparison with other countries of the Southern Cone, it must be remembered that many thousands more have passed through the hands of the security forces and been subjected to Brazil's sophisticated torture techniques. And 321 other people have ‘disappeared’. Right-wing death squads continue to act with impunity, kidnapping and killing suspected leftist sympathisers and blowing up the offices of ‘suspect organisations’. Alex Polari's prison poems were published in Brazil in 1978 by the Comité Brasileiro Pela Anistia. They have also appeared in Sweden, France, Italy, and Portugal. This is their first publication in English.
Oh! How I miss the termite
Authors: Marcos Plínio 
Published: October 2007

In April 1979 the Brazilian government announced it was lifting all censorship of the theatre. This reflects the new regime's more pragmatic approach to the question of censorship. After all, theatre is a rather special form, as José Leite Otati (a former head of the Public Entertainments Censorship Service in Rio de Janeiro) pointed out: Its audience is already restricted by entrance regulations about age groups, by levels of education, the travel factor, and the price, which puts theatre tickets out of the reach of many. Nevertheless, for the past ten years theatre has been – relative to other cultural activities in Brazil – amongst the worst hit by censorship. This can partly be explained by developments in the period 1964–8. In those years there emerged a number of experimental theatre groups interested in socio/political themes and the problems of the country, unlike the highbrow productions of most professional companies of the time. Three of the most important groups were Oficina, established by José Celso Martinez Correia, which presented productions such as Gracias Señor in the northeast of Brazil (the poorest area of the country), Grupo Opinião, and Teatro Arena, founded by Augusto Boal and Guarnieri. Censorship during this period was fairly arbitrary; occasionally it was replaced by acts of violence. In 1968, for example, Roda Viva by Chico Buarque was attacked on its first night by the CCC (Comando de Caça aos Comunistas, ‘ Commando to Hunt Communists’), a right-wing terror squad. After 1968, as theatre came increasingly to reflect political commitment and resistance, and as social protest grew, censorship became more systematic. Every play had to be submitted to the censor in Brasilia before it was staged, and a complete rehearsal had to take place in the presence of a censor of the town in which the play was being performed. After a private viewing before the censor, and the day before it was due to open, Calabar by Chico Buarque and Ruy Guerra was banned, causing considerable economic problems to the producers. The experimental groups had difficulty surviving in the new repressive climate. Augusto Boal was imprisoned in 1971, then forced into exile; and Teatro Arena finally found it could no longer function. Among the many censored playwrights, Plínio Marcos – still one of the best known in Brazil's theatre – is notorious for having 18 of his works suppressed without performance. However, those which were allowed a few performances before being banned were enormously successful. They include Navalha na carne (‘Knife on Flesh’) and Jornada de um imbecil ate o entendimento (‘ An Imbecile's Journey to Understanding’). Having suffered censorship to this extent in the past, Plinío Marcos wrote the following short play to be read only. It was first published in Movimento in December 1978.
Sculptor in Prison
Authors: Ntuli Pitika 
Published: October 2007

Pitika Ntuli is a 38-year-old South African artist, sculptor and poet who has been living and working in London since his release from the maximum security death cells of the Matsapa Central Prison in Swaziland ( see Brief Report, Index on Censorship 1/1979). Ntuli, who had been living in exile in Swaziland from 1963 up to the time of his arrest on 7 April 1978, was formerly artistic chairman of the Pan-Africanist Congress of South Africa, in Nigeria. In Swaziland, he established an art workshop for musicians, poets and visual artists. His work has been exhibited at several galleries and cultural centres in New York and was shown at FESTAC in Nigeria. Last October he participated in Amnesty International's first sculpture exhibition, ‘The Freedom of the Spirit’. Two manuscripts of a novel and poems which Pitika Ntuli wrote in prison, have been confiscated by the Swazi prison authorities. In this interview with Ahmed Rajab he talks about his imprisonment, his work, and the predicament of artists in repressive societies.
Goulash Archipelago
Authors: Frankland Mark 
Published: October 2007

Le Tremblement des Hommes by Paul Goma Editions du Seuil Paris 332pp Le Rétablissement de l'Ordre by Milan Šimečka François Maspero Paris 216pp Opposition = 0.1% ed. by Miklós Haraszti Editions du Seuil Paris 176pp Etre Communiste en Allemagne de l'Est by Robert Havemann Frangois Maspero Paris 168pp Communism and East Europe ed. by František and Larisa Silnitsky and Karl Reyman Harvester Press 242pp The Kremlin's Dilemma by Tufton Beamish and Guy Hadley Collins and Harvill 286pp £5.95
Dirty tricks on the underground press
Authors: Rips Geoffrey 
Published: October 2007

What was known in the United States as the ‘underground press’ – self-published newspapers of the youth counterculture sold at street corners and around campuses in American cities during the 1960s and early 70 s – was once a significant network estimated at over 400 publications. Their hallmark was opposition to US involvement in the Vietnam War, criticism of the authorities, of uncontrolled technology and big business, advocacy of sexual freedom and artistic experimentation and, frequently, the advocacy of marijuana, LSD and other psychedelic drugs. Few of these publications have survived the past ten years, and their disappearance has been variously attributed to the cooling of radical interest after the American withdrawal from Vietnam, as well as to the vague and shifting nature of the ‘hippie’ scene. Complaints by their publishers during the early and mid-seventies that printers refused their business, that office rents suddenly doubled, that advertising was cancelled, that papers were lost – these were seen as local accidents and were rarely reported by the established media. Claims of official or officially-sanctioned harassment were dismissed – even by fellow radicals – as paranoid. Recent research by Geoffrey Rips of the PEN American Center has revealed the extent and variety of official pressure exerted against alternative publications during the Vietnam War period. Using evidence from government hearings like the Church Committee, which reported in 1976, actual FBI documents released to American PEN under the Freedom of Information Act, and other sources, Mr Rips argues that such harassment contributed materially to the closure of certain publications and in general terms constituted a gross infringement on the protection afforded to dissenting opinion and to a free press under the US constitution. We publish edited extracts here from Geoffrey Rips' report which will be published in full by the PEN American Center and the City Lights Press.
Volavérunt
Authors: Larreta Antonio , Coad Malcolm 
Published: October 2007

‘Impossible not to think of Russian dolls,’ writes Antonio Larreta in the prologue to this novel The book juxtaposes different kinds of testimony to cast varying lights on historical events. The novel turns on the death in July 1802 of Maria del Pilar Teresa Cayetana de Silva y Alvarez de Toledo, the 13th Duchess of Alba and the subject of several paintings by Francisco Goya, notably the famous pair of pictures, La Maja Vestida ('La Maja clothed) and La Maja Desnuda (‘La Maja nude’), the second of which caused a major scandal in Spanish society when it was exhibited The novel is constructed around two apocryphal testimonies regarding her death, one supposedly by Goya himself, and the other by Don Manuel Godoy, Duke of Alcudia, a friend but political enemy of the Duchess. The first of these is recounted by Godoy as part of his own statement written in 1848. Both testimonies, plus a police report about the death and a letter sent to Godoy by another participant in the events, are purportedly found by the author in 1980 among papers in a house in Paris belonging to his Uruguayan mother's third husband, Lorenzo de Pita y Evora, Marquess of Peñadolida. There are notes added throughout the text written notionally by Pita y Evora in 1939 and by Larreta himself. The issue throughout is whether the Duchess died naturally, was poisoned or committed suicide. The novel is concerned with the corruption of a luxurious and decadent aristocratic culture, preoccupied with political intrigue and artistic show. The figure of the Duchess, a brilliant schemer, hostess and cocaine addict, is central to this world; her death throws it into crisis, setting up reverberations which echo down the ensuing 150 years. The extract of Volavérunt which follows is from Goya's description of the soiree after which the Duchess is found dying. The paragraph in parentheses is comment by Godoy, and the notes are by Larreta drawing from Pita y Evora (notionally, of course). Goya, it should be pointed out, was substantially deaf by the time of the events he describes.
Self-censorship threatens US press freedom: Fear of costly legal actions is inhibiting the media
Authors: Picard Robert G. 
Published: October 2007

‘American publishers and broadcasters are increasingly exercising self-censorship to avoid costly litigation’ says the editor of Freedom of Information Digest, giving a pessimistic assessment of the situation Despite a strong tradition of press freedom and (especially since Watergate) increasingly aggressive investigative journalism in the USA, the country's libel laws can inhibit journalists and lead to self-censorship. The authors of the two articles that follow examine the effect of libel legislation on the US press — one from a journalist's, the other a lawyer's point of view.
Saeed Soltanpour: On this shore of fear
Authors: Costantini Humberto 
Published: October 2007

Saeed Soltampour, an Iranian poet and playwright, was executed on 26 July 1981 by the authorities of the Islamic Republic. He was imprisoned many times under the Shah's regime mostly for his writings. His books of poems included Ketab-e Avazha-ye Band (‘Book of Ballads from Jail’). A founding member of Iran's Theatre Society in 1968, his plays were often banned. His last play was called Koshtargah (‘Slaughter House’). He was elected to the Executive Committee of the Writers Association of Iran in 1980. After his arrest in July 1981. the Soltanpour Committee was set up in Paris to campaign for his release. The following is one of the poems he recited in front of a huge crowd during a public event called ‘Ten Nights of Poetry’ in November 1977 held at the Goethe Institute and organised by the Writers Association of Iran.