Ground Software Maintenance Facility (GSMF) user's manual. Appendices NASA-CR-178806 NAS 1.26:178806 Rept-41849-G159-026-App HC A05/MF A01

Procedures are presented that allow the user to assemble tasks, link, compile, backup the system, generate/establish/print display pages, cancel tasks in memory, and to TET an assembly task without having to enter the commands every time. A list of acronyms is provided. Software identification, payload checkout unit operating system services, data base generation, and MITRA operating procedures are also discussed

Ground Software Maintenance Facility (GSMF) user's manual

Instructions for the Ground Software Maintenance Facility (GSMF) system user is provided to operate the GSMF in all modes. The GSMF provides the resources for the Automatic Test Equipment (ATE) computer program maintenance (GCOS and GOAL). Applicable reference documents are listed. An operational overview and descriptions of the modes in terms of operator interface, options, equipment, material utilization, and operational procedures are contained. Test restart procedures are described. The GSMF documentation tree is presented including the user manual

High-risk corneal allografts : A therapeutic challenge

Peer reviewedPublisher PD

George Eliot and American Films

To Kathleen Adams t discussion of George Eliot film adaptations (Review, 1977), I would Iike to add two interesting items omitted and a few comments. Other than that piece and a few brief remarks about George Eliot theatrical adaptations in a column in the London Illustrated News (Mar. 5, 1927), nothing has been written about Eliot on stage and screen. The subject deserves more treatment. The silent era of filmmaking in America coincided with a period in American culture when English classics lt possessed a certain cachet that made them good properties for an entertainment industry with aspirations to something grander, more cultural. Not coincidentally, nearly all the Eliot adaptations done were silents, among them two items omitted from the earlier article, fiIm adaptations of SiIas Marner and The Mils on the Floss. Readers of The New York Clipper on December 4, 1915 saw a large, two column, half page ad which read: Mutual Film Corporation Announces A Masterpiece Extraordinary The Mill on the Floss A Stupendous Film Dramatization of George Eliot\u27s Famous Novel featuring the Popular Star Mignon Anderson This Mutual release of a Thanhauser film, a long five reel film, opened December 16 and was reviewed two days later in The Moving Picture World. Much of the review is taken up by an account of who plays what role, and the reviewer was impressed by the acting. Apparently the film was faithful to the book, to the spirit of Maggie1s independence, the compelling sense of tragedy, and to at least its more noteworthy scenes. Mentioned, for example, are Maggie\u27s rebellious haircutting and her pushing Lucy into the mud. Also worthy of note at an age when films began moving off the backlots and onto location was the flood scene, so vividly realistic as to suggest its having been staged on the scene of some flood disaster . American fascination with English classics is evident in the fact that this American MiII preceded the English version by fully twenty-five years

Romola on The American Stage

About George Eliot Americans were certain of two truths by the time of her death in 1880: she was a genius who was pushing the novel into a new terrain of seriousness, intense moral purpose, and artful design; she was also a glum realist in whose work characters were called to a high moral duty in a godless world without transcendent values. Lavish praise of her work from its first appearance in the United States in 1858 continued largely without qualification until the publication of Middlemarch in 1873. Throughout the seventies she was as frequently denounced, gloom and doom replacing humour and pathos as reviewers\u27 formulas. Eliot\u27s intent was to widen men\u27s sympathies; as a realist for whom that phrase meant more than quaint local colour, her goal was to guide readers to do without opium and live through all our pain with conscious, clear-eyed endurance.\u27 Americans wanted, by contrast, what was so poignantly expressed in a question posed by a reviewer in Scribner\u27s: Is there not a Saviour for us? (October,1874). Americans wanted light and hope and moral uplift. Little wonder then that unlike nearly all of her fellow English novelists of the Victorian era whose works were routinely adapted for the American stage, Eliot never saw her novels produced in American theatres. From the fifteen volumes of William C. Odell\u27s monumental Annals of the New York Stage her name is missing; nor, with one exception, may an Eliot title be found in any of the volumes of the Best Plays series from 1895 to the present, in Rodin\u27s Later American Plays, or in Hixon and Hennessee\u27s Nineteenth-Century American Drama. From midcentury on the novel\u27s headlong rush into realism was more advanced in England than in the United States. By the time the word realism was first used in Atlantic Monthly in 1857, it described the work of a generation of English practitioners. The novel, both in England and in the United States, also preceded the drama in its adoption of a realist aesthetic. By the time the American stage was ready for realistic domestic drama, Eliot\u27s contradictory reputation was fixed. The only Eliot novel adapted to the stage, Romola, was fittingly chosen to resolve the contradiction. Her glum realism - which for adaptation purposes meant all of her novels but one-was cast aside just when the canon of theatrical material was turning increasingly realistic. Her status as classic genius was preserved ironically by those whose dramatic and theatrical tastes were most conservative in the adaptation of her most poetic work, her only historical romance. The theatrical adaptation of Romola preserved Eliot for Americans but at the expense of the truth of her work. Ironically the adaptation process saved her by turning her into what she had been charged with being all along-a wholly secular writer. Secular could be made acceptable so long as it was not realistic. The adapting medium-the American stage of the 1890s--assured that this would be the case, presenting us with an interesting case study of the role played by adapting media in the consolidation or alternation of a reputation

Could Low Vitamin D Status Explain the Increased Rates of Hypertensive Disorder in Pregnancy in the US Population and in Non-Hispanic Black Women? An Examination of NHanes 2001-2006

Background: The incidence of Hypertensive Disorders in Pregnancy (HDP) is increasing in the US and is linked to serious long and short-term health problems for both mother and fetus. Vitamin D has been shown to have direct influence on molecular pathways involved in pregnancy. However a link between vitamin D status and HDP in Pregnant women has not been established. Objectives: The purpose of this study is to determine (1) the association between vitamin D deficiency and the occurrence of (HDP) and (2) whether non-Hispanic Black women (NHB) are at greater risk for HDP due to low vitamin D status. Methods: Pregnant females in the National Health and Nutrition Examination Survey (NHANES) study from 2001 to 2006 were used in this study. Participant’s response to interview questions and laboratory results were taken into account to determine HDP status. Logistic regression was used to determine the association between vitamin D status and HDP. Results: Pregnant women with low vitamin D status (25(OH)D \u3c 20ng/ml) were 1.123 (95%CI: 0.808-1.56) times more likely to have HDP compared to women who were vitamin D sufficient. This association was not significant. NHB women did not show a significant increased risk for HDP. Conclusions: Low vitamin D status during pregnancy may lead to an increased risk for Hypertensive Disorders in Pregnancy. However more research on larger sample size is needed to determine the true extent of the association of vitamin D status with HDP in the general population and that of non-Hispanic Black women

Magnetic excitations in the spin-trimer compounds Ca3Cu3-xNix(PO4)4 (x=0,1,2)

Inelastic neutron scattering experiments were performed for the spin-trimer compounds Ca3Cu3-xNix(PO4)4 (x=0,1,2) in order to study the dynamic magnetic properties. The observed excitations can be associated with transitions between the low-lying electronic states of linear Cu-Cu-Cu, Cu-Cu-Ni, and Ni-Cu-Ni trimers which are the basic constituents of the title compounds. The exchange interactions within the trimers are well described by the Heisenberg model with dominant antiferromagnetic nearest-neighbor interactions J. For x=0 we find JCu-Cu=-4.74(2) meV which is enhanced for x=1 to JCu-Cu=-4.92(6) meV. For x=1 and x=2 we find JCu-Ni=-0.85(10) meV and an axial single-ion anisotropy parameter DNi=-0.7(1) meV. While the x=0 and x=1 compounds do not exhibit long-range magnetic ordering down to 1 K, the x=2 compound shows antiferromagnetic ordering below TN=20 K, which is compatible with the molecular-field parameter 0.63(12) meV derived by neutron spectroscopy.Comment: 22 pages (double spacing), 1 table, 9 figures, Submitted to Phys. Rev. B (2007