Catholic Education: A Journal of Inquiry & Practice: A Ten-Year Retrospective Review of Catholic Educational Research

The journal has a brief but important history, encompassing the support of major Catholic colleges and universities across the United States. In particular, the University of Dayton and the University of Notre Dame have provided a home for the editorial offices and the contributed services of the editors. As the journal prepares for a transition to its third home at Boston College, this article offers a summative and evaluative overview of the contents of the journal since its inception. Recommendations are offered regarding ways to continue to grow the field of educational research situated in Catholic schools

Fixation of transparent bone pins with photocuring biocomposites

Bone fractures are in need of rapid fixation methods, but the current strategies are limited to metal pins and screws, which necessitate secondary surgeries upon removal. New techniques are sought to avoid surgical revisions, while maintaining or improving the fixation speed. Herein, a method of bone fixation is proposed with transparent biopolymers anchored in place via light-activated biocomposites based on expanding CaproGlu bioadhesives. The transparent biopolymers serve as a UV light guide for the activation of CaproGlu biocomposites, which results in evolution of molecular nitrogen (from diazirine photolysis), simultaneously expanding the covalently cross-linked matrix. Osseointegration additives of hydroxyapatite or Bioglass 45S5 yield a biocomposite matrix with increased stiffness and pullout strength. The structure-property relationships of UV joules dose, pin diameter, and biocomposite additives are assessed with respect to the apparent viscosity, shear modulus, spatiotemporal pin curing, and lap-shear adhesion. Finally, a model system is proposed based onex vivoinvestigation with bone tissue for the exploration and optimization of UV-active transparent biopolymer fixation

Quantification of carbon and phosphorus co-limitation in bacterioplankton: new insights on an old topic

Because the nature of the main resource that limits bacterioplankton (e.g. organic carbon [C] or phosphorus [P]) has biogeochemical implications concerning organic C accumulation in freshwater ecosystems, empirical knowledge is needed concerning how bacteria respond to these two resources, available alone or together. We performed field experiments of resource manipulation (2×2 factorial design, with the addition of C, P, or both combined) in two Mediterranean freshwater ecosystems with contrasting trophic states (oligotrophy vs. eutrophy) and trophic natures (autotrophy vs. heterotrophy, measured as gross primary production:respiration ratio). Overall, the two resources synergistically co-limited bacterioplankton, i.e. the magnitude of the response of bacterial production and abundance to the two resources combined was higher than the additive response in both ecosystems. However, bacteria also responded positively to single P and C additions in the eutrophic ecosystem, but not to single C in the oligotrophic one, consistent with the value of the ratio between bacterial C demand and algal C supply. Accordingly, the trophic nature rather than the trophic state of the ecosystems proves to be a key feature determining the expected types of resource co-limitation of bacteria, as summarized in a proposed theoretical framework. The actual types of co-limitation shifted over time and partially deviated (a lesser degree of synergism) from the theoretical expectations, particularly in the eutrophic ecosystem. These deviations may be explained by extrinsic ecological forces to physiological limitations of bacteria, such as predation, whose role in our experiments is supported by the relationship between the dynamics of bacteria and bacterivores tested by SEMs (structural equation models). Our study, in line with the increasingly recognized role of freshwater ecosystems in the global C cycle, suggests that further attention should be focussed on the biotic interactions that modulate resource co-limitation of bacteria.This research was supported by Junta de Andalucía (Excelencia P09-RNM-5376 to JMMS) and the Spanish Ministry Ciencia e Innovación (CGL2011-23681 to PC)

Noc's Hamletom - poeticka kulminacija epske poezije Vladimíra Holana

No abstract available

Jak se cestuje a vypravuje o cestování: nástin mezižánrové hry mezi Čapkovými cestopisy a komerčními turistickými žánry

This paper discusses the intergeneric construction of Karel Čapek's travel writings, which represent a complex fictional structure founded on the interaction between non-fiction, lowbrow and highbrow genres. In particular, the paper analyses the influence of the commercial tourist handbook as a possible non-fictional source of travel writing. Even though Čapek's traveller mocks the standardised structure and petrified vocabulary of tourist handbooks, in various places he admits that he travelled with a copy of the Baedeker in his hands. The article outlines how he expressed and subverted intergeneric links by fictionalising the two prominent features of the tourist handbooks: narratological (physical and communicative distance between the narrator and the reader/listener) and visual structure. This results not only in a new reading of Čapek's travelogues, but also in a new perspective on traditional "Čapkian" themes, such as the question of "ordinariness" and identity

Jak se cestuje a vypravuje o cestování: nástin mezižánrové hry mezi Čapkovými cestopisy a komerčními turistickými žánry

This paper discusses the intergeneric construction of Karel Čapek's travel writings, which represent a complex fictional structure founded on the interaction between non-fiction, lowbrow and highbrow genres. In particular, the paper analyses the influence of the commercial tourist handbook as a possible non-fictional source of travel writing. Even though Čapek's traveller mocks the standardised structure and petrified vocabulary of tourist handbooks, in various places he admits that he travelled with a copy of the Baedeker in his hands. The article outlines how he expressed and subverted intergeneric links by fictionalising the two prominent features of the tourist handbooks: narratological (physical and communicative distance between the narrator and the reader/listener) and visual structure. This results not only in a new reading of Čapek's travelogues, but also in a new perspective on traditional "Čapkian" themes, such as the question of "ordinariness" and identity

Čapkův vizuální experiment se žánrem cestopisu

This article discusses visual elements in Karel Capek's travel writing as semantic signs, and their simultaneous interaction with the narration. The explicit use of intermedial elements and their interaction with the text show the process of transformation of the travelogues from biographical to fictional depiction of the theme of travel. This is achieved through the subjective stance of the narrator, who searcher for "typicalities," which at the same time represent the essence of the cultural identity of the visited countries and a defamiliarized view on them. The paper in question gives an outline of the changes of the visual poetics of the narrative in relation to the poetics of the period, from the use of ekphrasis in Letters from Italy (Italske listy, 1923), to iconotext, the use of illustrations in Letters from England (Anglicke listy, 1924), and the interaction of the art of illustration and film in A Trip to Spain (Vylet do Spanel, 1930). The analysis of the travelogues: Images from Holland (Obrazky z Holandska, 1932) and A Journey to the North (Cesta na sever, 1936) will primarily focus on the use of "mirroring," in Mukarovsky's interpretation of semantic doubling as a narrative tool, whose complexity is similar to that of Capek's fictional worlds. The discussion of intermedial poetics of Capek's travelogues offers a new reading of the author's opus. The emphasis is on the writer, who at the same time illustrated his own works, and who used illustrations as semantic indexes in narration, hence taking part in the creation of the new 20th century poetics of travel writing, whereby the explicit visual elements play a crucial semantic role

Čapkova próza a drama jako zvláštní druh cestopisného psaní

This article focuses on the theme of travel in Karel Čapek’s fiction. Travel is not a mere motif, but the catalyst for an intertextual interaction between the writer’s travelogues and fiction. The relationship between the two illuminates how concrete travel becomes spiritual, and how fiction reverses the position of home: in contrast to the travelogues, in which home was a point of reference, in Čapek fiction, home ceases to exist. While the travelogues depict destinations through comparisons with home, Čapek uses his fictional works to challenge the possibility of comparison. I divide the fictional works into three groups according to the type of destination each work features. The first includes exotic destinations, where home is a distant memory and the journey is foregrounded. The exotic appears in early works like The Garden of Krakonoš (Krakonošova zahrada, 1918) and The Lumious Depths (Zářivé hlubiny, 1916), while it assumes a different function in later works, such as Meteor (Povětroň, 1934) and War With the Newts (Válka s mloky, 1936). In the second group, home disappears and travel itself becomes the central motif as Čapek focuses on the aimless wandering of characters like tramps (tulák, pobuda). The primary example of this type of work is From the Life of Insects (Ze života hmyzu, 1921), a play that Čapek co-authored with Josef Čapek. The last group of fiction includes internalized journeys of self-discovery (sebeobjevení) that challenge the very idea of a physical home. As the most diverse among the three, the journey of self-discovery includes contact with the other - either meeting the traveling other as in The Wayside Crosses (Boží muka, 1917) or by encountering others while away from home, as in some stories from Tales from Two Pockets (Povídky z jedné kapsy, Povídky z druhé kapsy, 1929) and the novel An Ordinary Life (Obyčejný život, 1934). To this third group of travels also belongs the novel Hordubal (1933), in which the return of a peasant from Subcarpathian Ruthenia to his village represents the simultaneous loss of home and failed self-discovery. The journey of self-discovery directly relates all travelers from this group to the traditional Czech pilgrim (poutník), especially Komenský’s allegorical traveler in Labyrinth of t