Search Constraints

Search Results

  • Complexities of Rosacea: Inflammatory Response in Melanin Rich Skin

    Document thumbnail: Complexities of Rosacea: Inflammatory Response in Melanin Rich Skin
    Type:
    Document
    Description/Abstract:
    Rosacea is a chronic inflammatory skin disorder commonly characterized by centrofacial erythema, papules, pustules, vascular instability, and ocular involvement. Although extensively studied in lighter skin tones, significant disparities remain in the diagnosis, detection, and treatment of rosacea in individuals with skin of color. This review examines current literature regarding rosacea in melanin-rich skin with emphasis on prevalence, biomarkers, pathophysiology, diagnostic challenges, Demodex folliculorum involvement, and treatment approaches. Current diagnostic standards rely heavily on visible erythema and telangiectasia, which are often less apparent in darker skin tones, contributing to underdiagnosis and delayed treatment. Research also suggests differences in inflammatory biomarkers, post-inflammatory hyperpigmentation, and vascular responses in skin of color. Treatment methods including topical therapies, lifestyle modifications, and laser-based thermal therapies are reviewed alongside their limitations and risks in melanated skin. Emerging diagnostic technologies, such as computer-aided imaging systems and biomarker-based approaches, demonstrate potential for improving diagnostic accuracy across diverse populations. Overall, this review highlights the need for more inclusive research, improved clinical education, and culturally competent diagnostic criteria to better address rosacea in underrepresented populations and reduce disparities in dermatologic care.
    Creator/Author:
    Wilson, Shanice
    Submitter:
    Shanice Wilson
    Date Uploaded:
    05/13/2026
    Date Modified:
    05/13/2026
    Date Created:
    2024-07
    License:
    All rights reserved

  • FIRE & EMS - CURRENT EVENTS

    Document thumbnail: FIRE & EMS - CURRENT EVENTS
    Type:
    Document
    Description/Abstract:
    CHAPTERS 1- 18: Supplement to Prof. Larry Bennett’s textbook, FIRE SERVICE LAW (SECOND EDITION), Jan. 2017:  http://www.waveland.com/browse.php?t=708 SEE ALSO RECENT PUBLISHED COURT DECISIONS [NOV. 2018-PRESENT] FOR 18 CHAPTERS: From Prof. Bennett’s Fire & EMS Law monthly newsletters [send him e-mail if wish to receive]  https://scholar.uc.edu/concern/documents/n870zs553?locale=en
    Creator/Author:
    Bennett, Lawrence
    Submitter:
    Lawrence Bennett
    Date Uploaded:
    07/27/2021
    Date Modified:
    05/12/2026
    Date Created:
    2021-07
    License:
    Attribution 4.0 International

  • Test for use

    Image thumbnail: Test for use
    Type:
    Image
    Description/Abstract:
    tst
    Creator/Author:
    Langsam, Walter
    Submitter:
    Walter Langsam
    Date Uploaded:
    05/12/2026
    Date Modified:
    05/12/2026
    License:
    Attribution 4.0 International

  • Test

    Image thumbnail: Test
    Type:
    Image
    Description/Abstract:
    tste
    Creator/Author:
    Langsam, Walter
    Submitter:
    Walter Langsam
    Date Uploaded:
    05/12/2026
    Date Modified:
    05/12/2026
    License:
    Attribution-NonCommercial 4.0 International

  • Test for Sidekiq

    Image thumbnail: Test for Sidekiq
    Type:
    Image
    Description/Abstract:
    est
    Creator/Author:
    Langsam, Walter
    Submitter:
    Walter Langsam
    Date Uploaded:
    05/12/2026
    Date Modified:
    05/12/2026
    License:
    Attribution 4.0 International

  • Helpful Online Resources + Websites

    Document thumbnail: Helpful Online Resources + Websites
    Type:
    Document
    Description/Abstract:
    Additional free resources for personnel working in the research enterprise.
    Creator/Author:
    Green-Schwartz, Clair
    Submitter:
    Clair Green-Schwartz
    Date Uploaded:
    12/22/2025
    Date Modified:
    05/11/2026
    License:
    Public Domain Mark 1.0

  • NORDP 2026 Poster: Increasing Capacity in the Social Science Research Enterprise

    Image thumbnail: NORDP 2026 Poster: Increasing Capacity in the Social Science Research Enterprise
    Type:
    Image
    Description/Abstract:
    This poster disseminated a National Science Foundation-funded study that examined the challenges faced by research enterprise professionals in supporting social science research funding, with particular attention to Historically Black Colleges and Universities (HBCUs) and Primarily Undergraduate Institutions. (PUIs). Using focus groups and a national survey, participants identified barriers and promising solutions. Findings highlight the dedication of professionals in this field and the potential for innovative strategies to strengthen and expand social science research across institutions.
    Creator/Author:
    Kennedy, Erica; DenBleyker, Emma, and Green-Schwartz, Clair
    Submitter:
    Clair Green-Schwartz
    Date Uploaded:
    05/11/2026
    Date Modified:
    05/11/2026
    Date Created:
    2026
    License:
    Public Domain Mark 1.0

  • FIRE & EMS LAW - LIBRARY RECENT CASE SUMMARIES

    Document thumbnail: FIRE & EMS LAW - LIBRARY RECENT CASE SUMMARIES
    Type:
    Document
    Description/Abstract:
    Monthly newsletter for Fire and EMS.
    Creator/Author:
    Bennett, Lawrence
    Submitter:
    Lawrence Bennett
    Date Uploaded:
    11/02/2020
    Date Modified:
    05/05/2026
    Date Created:
    2020-11
    License:
    Attribution 4.0 International

  • title test

    Document thumbnail: title test
    Type:
    Document
    Description/Abstract:
    test submissions form
    Creator/Author:
    Haitz, Lisa
    Submitter:
    Lisa Haitz
    Date Uploaded:
    05/01/2026
    Date Modified:
    05/01/2026
    Date Created:
    2026
    License:
    Public Domain Mark 1.0

  • Ethical Implications in Marina Abramović’s "Rhythm 0"

    Student Work thumbnail: Ethical Implications in Marina Abramović’s "Rhythm 0"
    Type:
    Student Work
    Description/Abstract:
    “In my opinion, wherever there is a public, there is a sacred place. When there is no public, there is no performance because there is no dialogue,” claimed Marina Abramović (b. 1946) in conversation with Italian art critic and contemporary art historian Achille Bonito Oliva. For Abramović, the presence of an audience is constitutive to performance. Performance art has frequently been defined by its provocative impulse, functioning as a responsive and unstable form that artists have turned to when engaging with political, cultural, or social pressures, and when seeking to unsettle the conventions of more established artistic disciplines. These sentiments are conveyed by her first performance works, The Rhythm Series (1973-1974). Over the course of two years, she completed five separate performances that explored the physical limits of the body and the relationship between performer and audience. Abramović performed Rhythm 0 (1974), the fifth and final work, at the gallery Studio Morra in Naples, Italy, from 8 pm to 2 am. She placed seventy-two objects on a table that could cause the human body extreme pleasure or pain, including but not limited to objects like a comb, lipstick, paint, a feather, a bone of lamb, cake, and a gun. Instructions posted on the wall declared: “I am the object. During this period I take full responsibility.” This experiment used the art space to expose what audiences are capable of when social inhibition is suspended and moral responsibility is left unguided. This paper asks, in her performance Rhythm 0, how does Abramović's deliberate surrender of bodily agency transforms the audience from passive observers into ethically implicated subjects, forcing an intersubjective encounter with the artist that exposes unconventional, if not revolutionary, social conditions governing the art space?
    Creator/Author:
    Penix, Sadie
    Submitter:
    Sadie Penix
    Date Uploaded:
    04/26/2026
    Date Modified:
    04/30/2026
    Date Created:
    2026-04
    License:
    CC0 1.0 Universal

  • A Golden Artist: Thomas Lanigan-Schmidt’s Life and Art During the Stonewall Era

    Document thumbnail: A Golden Artist: Thomas Lanigan-Schmidt’s Life and Art During the Stonewall Era
    Type:
    Document
    Description/Abstract:
    This paper explores queer artist Thomas Lanigan-Schmidt (b. 1948) and his piece titled Allegory of the Stonewall Riot (Statue of Liberty Fighting for Drag Queen, Husband, and Home) (1969). I take a biographical approach to the paper, dissecting Lanigan-Schmidt’s childhood and young adult life living as a queer street kid in the 1960s. I follow him to New York City, where he continued creating his kitsch style art and started getting recognized for it. Outside of his artistic endeavors, Lanigan-Schmidt would catch himself hanging out at The Stonewall Inn, a gay bar on Christopher Street. In the early hours of June 28, 1969, The Stonewall Inn was unexpectedly raided by the police. At a time when being queer was criminalized, the patrons of Stonewall had had enough and fought back against the police, sparking a riot that turned into a weeks-long protest. Lanigan-Schmidt was in attendance that night and joined the fight for gay liberation. It was this night that inspired his creation, Allegory of the Stonewall Riot (Statue of Liberty Fighting for Drag Queen, Husband, and Home). By analyzing the contextual importance of The Stonewall Inn and the riots that ensued, I show how Allegory of the Stonewall Riot reflects queer life in the 1960s. In the art historical canon, queer art is largely underrepresented. However, in this paper I show how Thomas Lanigan-Schmidt and Allegory of the Stonewall Riot deserve a place in the art historical canon
    Creator/Author:
    Turner, Lauren
    Submitter:
    Lauren Turner
    Date Uploaded:
    04/27/2026
    Date Modified:
    04/28/2026
    Date Created:
    2026-04-27
    License:
    CC0 1.0 Universal

  • Methane and carbon monoxide from natural gas streetlights in Boston

    Dataset thumbnail: Methane and carbon monoxide from natural gas streetlights in Boston
    Type:
    Dataset
    Description/Abstract:
    Methane and carbon monoxide concentrations and emissions from natural gas streetlights in Boston.
    Creator/Author:
    Townsend-Small, Amy
    Submitter:
    Amy Townsend-Small
    Date Uploaded:
    04/27/2026
    Date Modified:
    04/27/2026
    Date Created:
    2026-04-27
    License:
    Public Domain Mark 1.0

  • Location of gaslights in Boston

    Dataset thumbnail: Location of gaslights in Boston
    Type:
    Dataset
    Description/Abstract:
    Locations of gaslights in Boston from historical records. These data were obtained from the City of Boston and are dated 1985.
    Creator/Author:
    Townsend-Small, Amy
    Submitter:
    Amy Townsend-Small
    Date Uploaded:
    04/27/2026
    Date Modified:
    04/27/2026
    Date Created:
    1985-08-27
    License:
    Public Domain Mark 1.0

  • BA in Art History Capstone Project

    User Collection
    Collection thumbnail: BA in Art History Capstone Project
    Type:
    Collection
    Description/Abstract:
    The Dual Representation of Apsaras in Indian Culture
    Creator/Author:
    Gargi Bhalerao
    Submitter:
    Gargi Bhalerao
    License:
    CC0 1.0 Universal
    0Collections
    0Works

  • Ethical Implications in Marina Abramović’s "Rhythm 0"

    Document thumbnail: Ethical Implications in Marina Abramović’s "Rhythm 0"
    Type:
    Document
    Description/Abstract:
    “In my opinion, wherever there is a public, there is a sacred place. When there is no public, there is no performance because there is no dialogue,” claimed Marina Abramović (b. 1946) in conversation with Italian art critic and contemporary art historian Achille Bonito Oliva. For Abramović, the presence of an audience is constitutive to performance. Performance art has frequently been defined by its provocative impulse, functioning as a responsive and unstable form that artists have turned to when engaging with political, cultural, or social pressures, and when seeking to unsettle the conventions of more established artistic disciplines. These sentiments are conveyed by her first performance works, The Rhythm Series (1973-1974). Over the course of two years, she completed five separate performances that explored the physical limits of the body and the relationship between performer and audience. Abramović performed Rhythm 0 (1974), the fifth and final work, at the gallery Studio Morra in Naples, Italy, from 8 pm to 2 am. She placed seventy-two objects on a table that could cause the human body extreme pleasure or pain, including but not limited to objects like a comb, lipstick, paint, a feather, a bone of lamb, cake, and a gun. Instructions posted on the wall declared: “I am the object. During this period I take full responsibility.” This experiment used the art space to expose what audiences are capable of when social inhibition is suspended and moral responsibility is left unguided. This paper asks, in her performance Rhythm 0, how does Abramović's deliberate surrender of bodily agency transforms the audience from passive observers into ethically implicated subjects, forcing an intersubjective encounter with the artist that exposes unconventional, if not revolutionary, social conditions governing the art space?
    Creator/Author:
    Penix, Sadie
    Submitter:
    Sadie Penix
    Date Uploaded:
    04/26/2026
    Date Modified:
    04/27/2026
    Date Created:
    2026-04
    License:
    CC0 1.0 Universal

  • title

    Article thumbnail: title
    Type:
    Article
    Description/Abstract:
    title
    Creator/Author:
    Platts, Christopher
    Submitter:
    Christopher Platts
    Date Uploaded:
    04/27/2026
    Date Modified:
    04/27/2026
    Date Created:
    2026
    License:
    CC0 1.0 Universal

  • Dancing with the Devil: Salvator Rosa’s Manifestations of Witchcraft in Seventeenth Century Italy

    Student Work thumbnail: Dancing with the Devil: Salvator Rosa’s Manifestations of Witchcraft in Seventeenth Century Italy
    Type:
    Student Work
    Description/Abstract:
    Throughout the seventeenth century, ideas of the occult and mystique of witchcraft consumed public interest in artistic circles in Florence, Italy. Salvator Rosa (1615-1673), an Italian artist from Naples, participated in this movement from 1640 until his death. As interests in the occult heightened during his time in Florence, he participated in suspicions of witchcraft through his Scenes of Witchcraft (1645-1649). Located at the Cleveland Museum of Art, the series consists of four tondi, each portraying a witch with harrowing spectators at different times of the day. However, to ensure his esteemed prominence, he returned to Rome and produced religious works. The macabre interests that captivated Rosa in Scenes of Witchcraft (1645-49) became a vehicle of undermining the church through The Shade of Samuel Appears to Saul (1668) when the artist returned to Rome. In this paper I propose that through shared iconography, The Shade of Samuel Appears to Saul is a painting of witchcraft, and serves to undermine the authority of the church. Witches or other necromancing subjects were accepted solely to elevate the morality of biblical characters. By giving the witch of Endor agency, Rosa is offering an alternative subject that serves to rival the power of God.
    Creator/Author:
    Banks, Claire
    Submitter:
    Claire Banks
    Date Uploaded:
    04/26/2026
    Date Modified:
    04/26/2026
    Date Created:
    April 26, 2026
    License:
    CC0 1.0 Universal

  • The Language of the Self: Rejecting the Surrealist focus on Psychoanalysis in Leonora Carrington’s Self-Portrait (Inn of the Dawn Horse)

    Article thumbnail: The Language of the Self: Rejecting the Surrealist focus on Psychoanalysis in Leonora Carrington’s Self-Portrait (Inn of the Dawn Horse)
    Type:
    Article
    Description/Abstract:
    This project will explore the artist Leonora Carrington’s Self-portrait (Inn of the Dawn Horse, ca. 1937-38) and its relationship to and rejection of the male-centric, sexist ideology of psychoanalysis that governed the Surrealist movement. As outlined in Andre Breton's First Manifesto of Surrealism (1924), Freudian psychoanalysis had a great influence on Breton, the movement's founder (1896-1966). He believed in Freud's tenets and theories regarding dreams and the unconscious as a liberating and radical force that could tear down society’s systems of oppression. Yet there is a willful ignorance in Breton’s philosophy on the deep-rooted misogyny of Freud’s psychology and how the institution of psychoanalysis ignores the realities of female development and existence within inherently sexist societal structures of that period. However, Leonora Carrington rejected psychoanalytic theory as it pertained to her art. She refused to be categorized within sexist ideologies and asserted herself as a creative artist with her own interpretations of her work, positing her own ideologies in the process. She demonstrated her identity through her work and found liberation by developing her own feminist consciousness. Through researching Carrington's work, I want to expand on her ability to challenge the sexist paradigms of Surrealism and to reaffirm how her rejection demonstrates that female nonconformity is not only revolutionary but also necessary for female artistic freedom today. Other scholars have delved into this driving aspect of Carrington’s work but I will be utilizing Helene Cixous’ concept of “ecritutre feminine” in order to demonstrate how Carrington developed a “pictorial language” of her own within her work Self-Portrait (Inn of the Dawn Horse). I will use Cixous’ seminal work, "The Laugh of the Medusa," to expand on this idea and how Carrington developed that language, constituted of her own personal symbols, which is on full display in her self-portrait.
    Creator/Author:
    Morriss, Ella
    Submitter:
    Ella Morriss
    Date Uploaded:
    04/26/2026
    Date Modified:
    04/26/2026
    Date Created:
    2026-04-27
    License:
    CC0 1.0 Universal

  • SAMPLE

    Article thumbnail: SAMPLE
    Type:
    Article
    Description/Abstract:
    SAMPLE
    Creator/Author:
    Rose, Emma
    Submitter:
    Emma Rose
    Date Uploaded:
    04/26/2026
    Date Modified:
    04/26/2026
    Date Created:
    April 26, 2026
    License:
    CC0 1.0 Universal

  • POLITICAL & LEGAL APPLICATIONS FOR EMERGENCY SERVICES

    Document thumbnail: POLITICAL & LEGAL APPLICATIONS FOR EMERGENCY SERVICES
    Type:
    Document
    Description/Abstract:
    Modules to educate Officers in Officer I, II, III and Officer IV classes.
    Creator/Author:
    Bennett, Lawrence
    Submitter:
    Lawrence Bennett
    Date Uploaded:
    08/18/2020
    Date Modified:
    04/24/2026
    Date Created:
    2020-08
    License:
    Attribution-NonCommercial 4.0 International