stiffness and pulse wave velocity / Aorta and carotid arteries 137 (0.94 to 1.01) p = 0.096; Obesity OR = 0.47 (0.29 to 1.77) p = 0.003 and Diabetes OR = 2.41 (1.15 -5.05) p = 0.020. Conclusions: According to the results obtained, genetic polymorphisms variables were not in the multivariate analysis equation to determine the increase of the PWV, which can be explained either by being included in the selected variables such as hypertension, or on the other hand, they may not have enough strength to remain in the equation. So, according to this study, PWV has much more to do with behaviors and traditional risk factors than the genetic heritage.P883 Endothelial dysfunction, pulse wave velocity and augmentation index are correlated in subjects with systemic arterial hypertension?
Although the theatre of Gao Xingjian has been widely researched, the tragic potential of his dramaturgy has hitherto received little attention. Scholars have hinted at the possibility of interpreting certain plays by Gao from the perspective of tragedy; however, this suggestion was never developed into a fullfledged theory. Both his pre and post-exile work has been variously categorized as experimentalist, absurdist, grotesque, and Zen, but never as tragic. Existing scholarship focuses mainly on issues of transnationalism and transculturation with regard to dramatic aesthetics and dramatic technique, whereas Gao's intentional engagement with tragedy as both an art form and a philosophical outlook-which can be traced back to Escape (Taowang 1995), inspired by the Tiananmen Square events of 1989-has generally been overlooked. This paper aims to present a new and fresh critical perspective on Gao Xingjian's (mainly post-exile) dramaturgy of the predicament of modern man through a reexamination of two of its most salient elements: the dramatic technique of shifting pronouns and the performative concept of the ''other shore''. By elaborating on Gao's transhistorical definition of tragedy as the eternal confrontation between the individual and his own Self (''About Escape '' 1990), and drawing on selected scholarship on tragedy and the tragic, this paper ultimately characterizes Gao's plays as ''thirdspace tragedies'', owing to the presence-at a subtextual level-of an interstitial psychological field dominated by multiple tensions, lacerations, subjugations and divisions which affect the characters and their relationship to external reality and/or the realm of imagination.
Despite the many publications discussing Gao Xingjian’s theatre, his engagement with tragedy in the 1990 play Escape [ Taowang ] has not generated a substantial critical enquiry. Departing from the concept of “infra-tragedy,” briefly used by Izabella Łabędzka in Gao Xingjian’s Idea of Theatre to categorize Gao’s pre- and post-exile plays, this paper will investigate the relationship between Gao’s notion of “tragic modernity” and its concrete dramatization, thereby embracing Hans-Thies Lehmann’s proposition in Tragedy and Dramatic Theatre that “no tragic experience can exist without theatrical experience.” By expanding on Gao’s remarks on tragedy and his stage directions in Escape, and by engaging contemporary reconceptualizations of tragedy – both as a field of simultaneously cohesive and divisive forces (William Storm, After Dionysus) and as a religious communitarian experience (Georges Bataille, “Nietzschean Chronicle”) – this article demonstrates that Escape can be categorized as a metatragedy in post-classical form, possibly one of a vast multiplicity of forms of “postdramatic tragedy” in Lehmann’s terms and certainly a most idiosyncratic one.
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