Informed by conservation of resources and attention restoration theories we conducted two experiments to better understand how green micro-breaks, brief breaks viewing nature, help individuals recover resources to improve mood and performance. We integrate environmental psychology theory with research on work breaks to examine the mechanisms underlying these effects.
Metatarsus adductus is a structural deformity that may be associated with hallux valgus and that may lead to metatarsal pain and functional abnormality of the foot. Correcting hallux valgus is complicated in these cases because of the deviation in adduction of the lesser metatarsals, especially the second metatarsal that occupies the first intermetatarsal space. We report the case of a 49-year-old man who underwent a scarf osteotomy in the first metatarsal, shortening and abductor oblique distal osteotomies of the lesser metatarsals, and arthrodesis of the central toes with Z-lengthening of the capsule and long extensor tendons of the toes.
Li Bai’s “Rhapsody on the Hall of Light” offers a grand tour and exuberant depiction of the Mingtang, an edifice central to traditional theories of government and ritual. The poem has often been dismissed as belonging to the poet’s juvenilia, but more likely reflects the ambition and self-confidence of his youthful prime. It has also been viewed with suspicion because of the Mingtang’s associations with the interregnum of Empress Wu, but this only increases its interest for the modern reader. Comparison with its primary models, the epideictic fu of the Han dynasty, shows Li Bai’s ability to transform his sources. He inserts his own flourishes within the cosmic order that the Mingtang represents, while recasting the edifice as a symbol of his own creative prowess. The article concludes with the first complete English translation of the “Rhapsody on the Hall of Light.” La “Rhapsodie du Palais de lumière” de Li Bai nous fait visiter un édifice jouant un rôle essentiel dans les théories traditionnelles du gouvernement et du rituel, le Mingtang, et en propose une description exubérante. Cette pièce a souvent été rejetée comme œuvre de jeunesse, alors qu’elle reflète plutôt l’ambition et l’assurance d’un jeune poète en pleine possession de ses moyens. La “Rhapsodie” a aussi été considérée avec suspicion en raison de l’association du Mingtang avec l’interrègne de l’impératrice Wu, alors que pour le lecteur moderne cela en accroît plutôt l’intérêt. La comparaison avec ses principaux modèles, les fu épidictiques de l’époque des Han, révèle la capacité de Li Bai à transmuer ses sources. Il intègre sa propre ornementation à l’ordre cosmique représenté par le Mingtang, tout en transformant l’édifice en un symbole de ses propres pouvoirs créatifs. L’article se conclut avec la première traduction intégrale de l’œuvre en anglais.
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