Search Results (488)

Background/Objectives: Intravitreal injections (IVIs) are increasingly performed in outpatient settings, raising concerns regarding how to guarantee operating-theatre-level environmental safety. Mobile laminar airflow (LAF) units may create an ultraclean instrument field, but microbiological evidence from real-world IVI clinics is limited. Methods: We performed environmental monitoring during three IVI sessions, each including approximately 20 injections per session, in an outpatient procedure room equipped with a mobile LAF device (Operio Toul Mobile). Airborne microbial contamination was measured with a SAS Super 100 impactor (1 m³ per sample) at two locations, the procedure-room air and the LAF field, across seven predefined time points (T₋₁to T₅). Surface contamination of the instrument-covering drape was assessed at mid- and end-session using 24 cm² contact plates on four culture media. Colonies were expressed as CFU/m³ or CFU/24 cm² and analysed using a two-way repeated-measures ANOVA (location × time), with Holm-adjusted within-session paired post hoc comparisons at each time point. Results: During LAF operation (T₀–T₄), mean airborne load was 89.8 ± 10.8 CFU/m³ in room air versus 10.9 ± 4.6 CFU/m³ under LAF, corresponding to an 87.9% mean reduction (Holm-adjusted p < 0.01). At T₋₁ and T₅ (LAF off), counts were not significantly different between locations. Airborne microbial species consisted mainly of skin/oral commensals; no obligate pathogens were detected. All 24 drape samples showed 0 CFU. Conclusions: In this high-throughput outpatient IVI clinic, the mobile LAF device maintained a stable ultraclean microenvironment at the instrument field despite moderate background room contamination, supporting its use as an adjunct to standard aseptic measures, without the need to change the covering drape during the session. Full article

This article documents and analyzes a three-month intercultural performance collaboration with Metamorphosis Theatre in St. Petersburg, Russia, during the summer of 1992—a pivotal moment following the dissolution of the Soviet Union. Drawing on the author’s fieldwork methodology developed through decades of collaboration with Indigenous communities in Alaska, Southern Africa, and Siberia, the project employed trance techniques, rhythm-based training, and ritual archaeology to reconstruct pre-Christian Slavic performance practices. The resulting production, Shadows from the Planet Fire, emerged through a process that positioned ritual not as nostalgic revival but as a living technology for addressing cultural trauma and existential displacement. This account contributes to performance studies, applied theatre, and cultural heritage discourse by demonstrating how cosmocentric Indigenous methodologies can be adapted to address the spiritual and psychological wounds of post-industrial, post-colonial societies. The work establishes foundational principles for what the author terms “Techdigenous” practice—the synthesis of Indigenous wisdom traditions with contemporary performance contexts—and argues for ritual as a necessary consciousness technology in an era of ecological crisis and cultural fragmentation. Full article

Daoism is an important indigenous religion of China that emerged from ancient totemic worship and shamanic practices, encompassing mysterious ritual arts known as fulu (talismans and registers). Daoist fulu writing constitutes an important content and manifestation of Daoist spiritual calligraphy, representing a significant embodiment of Daoist sacred knowledge and mystical power. This paper presents the first in-depth investigation into the sources of the mysterious numinous power inherent in Daoist fulu writing. We conclude that the spiritual power of fulu writing derives from three distinct yet interconnected levels: external divine spiritual power, innate primordial qi spiritual power, and the fundamental Dao spiritual power. These three sources are not mutually exclusive but rather work in coordination. Only through the integration of the fundamental Dao spiritual power at the primordial level with the High Master’s own innate primordial qi spiritual power can external divine spiritual power be mobilized and utilized. This unity of subject and object, essence and application, forms a complete cycle that maximizes the spiritual efficacy of the talismans. Furthermore, to apply these research findings to promote contemporary artistic creation and enhance the mystical and innovative dimension of contemporary art at the visual level, the authors, drawing upon their personal Daoist cultivation experiences and fulu writing artistic practice, will further discuss the revelatory significance of fulu writing for contemporary calligraphic art creation. Full article

Among the Anaañ people in Akwa Ibom State, Southeastern Nigeria, the practice of naming serves as a central mechanism for communicating personal identity, recollecting memory and preserving social hierarchy across generations. The act of naming a child after a revered ancestor or existing relative is a form of moral inheritance that binds the name bearer to certain virtues, histories, and expected cultural nuance associated with the namesake. This article investigates the social functions of namesaking and in its role in family inheritance amongst the Anaañ people. This study examines the rituals, ceremonies, and narratives associated with namesaking, and further analyses the intergenerational authority and social status embedded in the practice. The analysis is rooted in social memory theory by Halbwachs (1992), which views names as memory carriers that connect individuals to their nativity and ancestors. Drawing from ethnographic research design, using participant observation and semi-structured interviews with 30 participants who were purposively sampled, the analysis reveals that namesaking and inheritance are interwoven cultural processes that promote social identity, reproduce lineage hierarchies, and individuate the bearer within the social universe of the community. This study concludes that in the Anaañ society namesaking is a symbol of continuity, with specific social expectations, moral obligations and traditional roles tied to the original name-holder. Full article

This study examines the evolution of qualitative research in the Social Sciences and Arts & Humanities over time through an extensive bibliometric analysis of 15,115 publications indexed in Scopus between 1985 and 2026. This research maps the scope of the field, the most prevalent methodologies, types of publications, linguistic distribution, and geographical origin of the works. Simultaneously, it correlates qualitative, quantitative, and mixed methodologies, highlighting the tensions, differences, and synergies between them. Using PRISMA-guided selection and bibliometric techniques, the analysis revealed a gradual and steady increase in qualitative research over the last decade. In the Arts and Humanities, there is a particular emphasis on narrative research, discourse analysis, and ethnography, while in the Social Sciences, qualitative, quantitative, and mixed methodologies coexist more evenly, with case studies and semi-structured interviews being used extremely frequently. Analysis of the document types revealed the predominance of scientific articles (over 85%), with English being the main language of publication. In terms of geographical distribution, the US and the UK are the strongest producers of qualitative knowledge, with Australia and Canada contributing significantly and a gradual strengthening of the participation of research communities from Latin America and Asia. The data show that publications referring to qualitative and mixed methodologies demonstrate comparatively higher citation visibility within the analyzed corpus, particularly in education, culture, and public policy. The findings indicate that the qualitative approach continues to play a key role in understanding the complex and lived dimensions of human experience, while opportunities for more integrated hybrid methodological frameworks will emerge in the future—both within individual scientific fields and in their interconnections. This study provides one of the largest bibliometric mappings of qualitative research internationally and systematically clarifies how the qualitative tradition differs between the Social Sciences and the Arts & Humanities. The findings can be used for evidence-based curriculum design, targeted development of research collaborations, and formulation of publication policies that enhance the visibility and influence of qualitative research. Full article

Paediatric orbital fractures require careful reconstruction to prevent long-term functional and aesthetic sequelae. Material selection is critical due to the anatomical and developmental considerations unique to children. Comparative data to guide decision making remain sparse and inconclusive. A systematic search was conducted in PubMed, Scopus, Web of Science, and Embase (through February 2025), following Preferred Reporting Items for Systematic Review and Meta-analyses (PRISMA) guidelines. Studies reporting outcomes and/or complications associated with implant materials used in the reconstruction of paediatric orbital fractures were included. Outcomes included postoperative diplopia, enophthalmos, restriction of eye movements, removal of material, and return to theatre (RTT). In total, 54 studies encompassing a total of 562 patients and 563 implants were included. Polymers (n = 169), alloplasts (n = 167) and autologous (n = 166) implants were the most commonly used reconstructive material. Late postoperative diplopia occurred in 7% of polymers (12/169), 6% of alloplasts (10/167), 29% of allografts (6/21), 24% of xenografts (6/25) and 33% of metals (2/6). Reported enophthalmos was highest in the autologous group (8%) but was only reported in 34 of the 54 studies. Infection, removal of implant material and RTT were low across all groups (1–4%). No donor site morbidity was reported. Robust studies with standardised outcomes and adequate follow-up are needed to inform evidence-based material selection in paediatric orbital reconstruction. Full article

Guan Yu (d. AD 220), better known by his posthumous title as Guan Gong or Lord Guan, was a prominent military general in the late Han dynasty (AD 206–220). For centuries, Lord Guan has been widely worshipped as both a god of war and a god of wealth throughout China. His worship is particularly prevalent in southern Shanxi, which is celebrated as his birthplace. This region features a notable array of temples dating from the late imperial period, many of which are specifically dedicated to his cult. As tangible heritage, Lord Guan temples represent a significant facet of Chinese architectural and religious history. Today, they continue to serve as religious spaces, where pilgrims and devotees come together to honour the deity through ritual practices and theatrical performances. These activities not only reinforce the community’s religious beliefs but also help to perpetuate the cultural and historical traditions associated with Lord Guan’s worship. Based on fieldwork conducted between 2023 and 2025, the study scrutinises the restoration, preservation and conservation challenges faced by these sacred spaces and structures, emphasising the ongoing tension and collaboration between grassroots religious practices and state-led restoration initiatives. Through this examination, the paper sheds light on the multifaceted nature of tangible and intangible heritage conservation and its implications for Lord Guan’s cult in contemporary society. Full article

Background: Functional Electrical Stimulation (FES) for post-stroke drop foot is commonly applied in acute and subacute stroke rehabilitation or as part of long-term home-based programs in chronic patients. Evidence supporting short facility-based rehabilitation programs incorporating FES in chronic populations remains limited. The aim of this study was to explore functional outcomes associated with such a program in a chronic population. Materials and methods: A 10-day facility-based rehabilitation program incorporating FES therapy followed by 3-month follow-up was delivered to 14 chronic post-stroke patients with foot drop (8 women; aged 62.6 ± 12.2 years). FES was applied during walking with stimulation synchronized to the swing phase of gait (35 Hz, 300 μs, 15 min per session). Activities of daily living and mobility were assessed using clinical outcome measures. Statistical significance (p < 0.05), effect sizes, and minimal clinically important difference (MCID) responder rates were evaluated. Results: Statistically significant improvements were observed across all outcome measures post-treatment and at follow-up, with MCID responder rates exceeding 50%. Conclusions: A short facility-based multimodal rehabilitation program incorporating FES was associated with functional improvements in chronic post-stroke patients. Given the multimodal design, these findings cannot be attributed to FES alone and should be interpreted as exploratory. Full article

Our Fairytales: The Cost of Migration, National Myth, and Creative Labor in Unser Deutschlandmärchen is a performance analysis that examines lived cultural narratives through the lens of the Maxim Gorki Theatre’s production of Dinçer Güçyeter’s autobiographical novel Unser Deutschlandmärchen. The impact on Turkish migrants in Germany and their descendants is explored through an investigation of primary production texts, migration and diaspora literature, and Turkish–German cultural commentary. A discussion of fairy tales and national mythos reveals the material contributions migrant communities often make to host nations through systemic endurance and cultural enrichment, frequently at the cost of forgoing “happily ever after.” The reformation of the traditional fairy tale recasts Turkish–German migrants as modern fairy-tale heroes who generate counter-cultural narratives through collective, intergenerational, and ethnographically inherited memory. Full article

The paper presents reflections from four black women academics on their process of creating theatricalised performances about their experiences in higher education. These women are part of the research group Feminist Decoloniality as Care (FemDAC). The performances were presented at various academic conferences by the four women. The making of the performance drew on letter-writing reflections prompted by questions centred on the experiences of black women academics in higher education. The audiences and performers engaged in post-performance discussions about issues and ideas pertinent to them. The process involved addressing issues of academic woundedness and exploring how black women can embody the structural injustices of the academy. What happens when black women academics see patriarchy and white supremacist tendencies in themselves? How do we facilitate decolonial care when the theatre process digs into our wounds? How does the performance give insight into the fractured relationship between black women and their fellow academics? This paper describes a decolonial approach to evoking care practices within the academy, especially drawing on the discourse of the arts for social change. The theatrical performance reflected the deep discomfort of black women academics in caring for and healing themselves amid ongoing academic woundedness. Full article

This article explores Vsevolod Meyerhold’s biomechanics as an avant-garde theatrical and anthropotechnical method developed to forge new subjectivity and redefine roles in post-revolutionary society. It delves into early Soviet avant-garde theatre’s emphasis on movement as a core expressive tool and the transformation of the actor’s body into a precise instrument for calibrated gestures. Methodologically, the research is based on cultural studies examining relations between art processes and the functioning of social institutions. The article also analyzes a significant corpus of recently published archival materials related to Meyerhold’s development of biomechanical elements and details the structure of Meyerhold’s exercises and their role in enhancing motor skills and expressiveness on stage. The purpose of this article is to interpret biomechanics in the socio-cultural context of early Soviet times, while also examining it as a complex system transcending mere theatrical training. The key finding of the article is that the development of biomechanics encompassed not only theatrical, scientific, and social aspects but also proved close to the ideas of philosophy of Russian anthropocosmism. Full article

This article reinterprets modern realist drama as a site of secular spirituality, where aesthetic form sustains the sacred under conditions of modern secularity. Employing a phenomenological–theological framework, it integrates Charles Taylor’s account of the secular age, Mircea Eliade’s sacred–profane dialectic and hierophany, and René Girard’s anthropology of sacrifice. Through textual and performance-historical analysis of key works—Ibsen’s A Doll’s House (1879) and An Enemy of the People (1882)—together with Chinese modern drama shaped by Ibsenization, including Hu Shi’s translations, Lu Xun’s critiques, and Cao Yu’s Thunderstorm (1934), the article argues that realist theatre fulfils religious functions in secular culture: revelation as truth-telling, confession as critical self-disclosure, and renewal as ethical transformation. In early twentieth-century China, the encounter between Ibsen’s moral realism and indigenous moral traditions generated a distinctive spiritual humanism, in which theatre assumed ritual and didactic functions traditionally associated with religious practices. Full article

Musicking-as-play is an ontological conceptualisation that equips us to look at music-making practices in new ways in order to reveal future potentials for music education. This article discusses a theory-testing case study which applies the ‘musicking-as-play’ lens to what is, from the outside, often viewed as the least creative and most restrictive professional music-making context: the highly repetitive environment of the musical theatre band. If ‘musicking-as-play’ is present there, the thinking goes, then the conception is sufficiently robust to be applied more generally and to influence how music performance is taught. Following detailed observations of their working practices, five band members of a long-running West End musical in London and an experienced musical director were interviewed about their professional experiences. Many of these musicians had performed the show well over 1000 times, up to eight times a week for many years. Questions were based on a theoretical framework which sets play in relief alongside ritual, work and communitas. Findings confirm that the musicians perceived their work as a form of play, and a number of context-specific characteristics of play are identified. Implications for conservatoire pedagogies are discussed. Full article

The crown conveys a rich tapestry of history and deep cultural resonances among the Yoruba people of South-western Nigeria, beyond its representation as an emblem of leadership, royalty, and nobility. This article explores layers of the meaning of crown in the Yoruba personal naming system. It relies on an ethnopragmatic theory to analyse the cultural significance and symbolic impact of crown-related names among the Yoruba. Drawing on a qualitative research approach using participant observation and semi-structured interviews with 25 participants who were purposively sampled in Ikeja, Lagos State, we argue that crown-related names are not mere identifiers or person reference labels, but they provide cultural insights and reflections on the foundation of authority and continuity, and carry the aspirational principles of the Yoruba traditional structure. The names symbolise personal journey; reinforce the hierarchical structure of the Yoruba society; and highlight the people’s deep connection to their ancestral lineage. This study concludes that crown-related names encapsulate the values, beliefs, and social structures of the Yoruba society, serving as enduring markers of dynastic identity and cultural values. In this way, crown-related names represent badges of honour that validate their bearers’ self-worth and dignity. Full article

This article presents a comprehensive analysis of the polychrome paintings on the Flower Peking Opera Theatre in Bozhou, Anhui Province, China. A multi-technique approach was employed, including polarized light microscopy (PLM), X-ray fluorescence (XRF), micro-Raman spectroscopy, X-ray diffraction (XRD), Fourier transform infrared spectroscopy (FT-IR), scanning electron microscopy with energy-dispersive spectrometry (SEM-EDS), and Herzberg staining to determine the composition and methodologies involved in the formation of the pigment layer, the white primer, and the ground layer. The analysis identified cinnabar (red), both artificial ultramarine and Prussian blue (blue), a mixture of barite and gypsum (white), a mixture of chromite and Prussian blue (green), and carbon black (black) in the pigment layer. The ground layer was found to consist of clay and plant fibers (cotton and hemp), while the white prime layer was primarily composed of barite and gypsum. This research provides insights for future conservation and restoration efforts. Full article