The paper describes a computer tool dedicated to the comprehensive analysis of lung changes in computed tomography (CT) images. The correlation between the dose delivered during radiotherapy and pulmonary fibrosis is offered as an example analysis. The input data, in DICOM (Digital Imaging and Communications in Medicine) format, is provided from CT images and dose distribution models of patients. The CT images are processed using convolution neural networks, and next, the selected slices go through the segmentation and registration algorithms. The results of the analysis are visualized in graphical format and also in numerical parameters calculated based on the images analysis.
This essay presents Polish translations of La vida es sueño (Life is a dream) and El príncipe constante (The constant prince) to provide a survey of the historical and cultural context of Calderón’s reception in Poland.
La querelle du Cid and la bataille d’Hernani show how much French theatre was dependent on Spain: the Spanish comedia used to be criticised for its irregularity by the classics (Voltaire) and praised for liberality by the romantics (Hugo). The article presents three moments in the history of Spanish theatre and its political involvement. (1) Idea de la comedia de Castilla by José Pellicer de Ossau y Tovar, who defined twenty rules of Spanish comedia in 1635, is analysed in the context of the theatre activity at the very moment when the king of France decided to declare war on the king of Spain. (2) La comedia nueva o el café by Leandro Fernández de Moratín, a metatheatrical master-piece, is presented as a confrontation of the Enlightenment with traditional Spanish theatre. (3) Aben Humeya by Francisco Martínez de la Rosa, a Spanish liberal exiled in Paris, and its French premiere in July of 1830 shows the implication of politics and theatre in both France and Spain.
Resumen
El artículo estudia los móviles de la composición de la comedia El gran duque de Moscovia y el Emperador perseguido de Lope de Vega y su reescritura —con el título El príncipe perseguido— por Luis de Belmonte, Agustín Moreto y Antonio Martínez de Meneses. Lope de Vega escribió su comedia para la compañía de Baltasar de Pinedo en 1606 llevado por lo atractivo de la historia de Demetrio narrada por el jesuita Juan de Mosquera en su Relación de la señalada y como milagrosa conquista del paterno Imperio, conseguida del sereníssimo príncipe Demetrio, gran duque de Moscovia, en el año 1605. En 1644, la comedia vieja de Lope les sirvió a los tres poetas como punto de partida para componer una comedia palatina seria pensada para un público concreto y privilegiado: la reina Isabel de Borbón y su corte. Se reconstruyen las circunstancias de un hipotético estreno de la comedia colaborada como una representación palaciega particular que no llegó a producirse por la muerte de la soberana.
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