Wooden Shoes Research Articles

The erotic imagery of the geisha

To see a geisha in real life is an unforgettable experience and one I had only recently when I saw a vision of a perfect white and pink doll face...

The Legend of the Wooden Shoes

In the final article of the series exploring stories from around the world, Judith Harries takes The Legend of the Wooden Shoes from Holland as her inspiration.

Trimpin: An Interview

Trimpin (born Gerhard Trimpin, 1951, in Istein, Germany—now part of Efringen-Kirchen) has been creating engaging sound sculptures and musical instruments for almost 40 years. His pieces combine unique explorations of physical elements such as fire, water, and glass with a ubiquitous sense of play and wonder. In addition to engaging with the physical world of acoustic resonators, Trimpin (see Figure 1) has been actively involved in computers, microcontrollers, and MIDI for most of his career. [Editor’s note: The original transcript was heavily edited, with the interviewee’s approval.] Classically trained on flugelhorn, Trimpin developed an allergy to metal. This condition sent him on a journey that began with learning most of the brass and woodwind orchestral instruments and culminated in turning his attention to mechanical musical machines. His creative work spans the spectrum of sound sculpture and musical instrument design. His work often blurs the lines between the two so heavily, and is so imbued with excellent craftsmanship and engineering, that people find it difficult to classify his work. Trimpin possesses an ability to take seemingly simple physical properties and control them with an astonishing level of accuracy and inventiveness. Klompen (1986; see Figure 2), is assembled from more than one hundred Dutch clogs (wooden shoes) instrumented with solenoid-controlled wooden mallets and suspended from the ceiling. Contraption IPP 71512 (see Figure 3) is a MIDI-controlled prepared piano device that can blow on, bang on, and pluck the strings of a grand piano. Liquid Percussion (1991; see Figure 4) is a water instrument created with juice dispensers that have been adjusted to precisely release a single droplet of water into various hand-blown glass vessels. Fire Organ (1994; see Figure 5) is a series of tuned pipes, where a

A Beeline Through Sir Peter James Kerley's Life

B Lines In 1930, Kerley was serving as assistant radiologist and radiologist to London’s Westminster and Royal Chest Hospitals, respectively [6]. At the same time, he began a lifetime commitment to research and scholarship, with regular contributions to the British Medical Journal and the British Journal of Radiology. In 1933, Kerley published an article entitled “Radiology in Heart Disease” in the British Medical Journal [7]. In this comprehensive review, Kerley considered topics ranging from the state of radiography of the heart (infantile) to the “coeur en sabot” (heart resembling a wooden shoe) of tetralogy of Fallot [7]. His most notable comments were his observations regarding mitral stenosis and left ventricular failure [7]:

Brass money and wooden shoes: Transmuting anti-Catholic rhetoric in Swift’s Drapier’s Letters

Brass money and wooden shoes: Transmuting anti-Catholic rhetoric in Swift’s <i>Drapier’s Letters</i>

The wooden shoe as an option for treating chronic laminitis

SummaryVarious farriery methods have been described for treating chronic laminitis, yet no particular method has become the preferred choice. The wooden shoe may possess certain advantages such as redistributing load evenly over the palmar/plantar section of the foot due to its flat solid construction and the mechanics (bevelled perimeter, breakover and heel elevation) that can be incorporated directly into the fabrication of the shoe. It should be apparent that the advantages of this farriery option will also be limited unless strict attention is paid to the details involving radiology, foot preparation and alignment of the distal phalanx within the hoof capsule.

Starlight on the Rails: A Songbook (review)

Reviewed by: Starlight on the Rails: A Songbook Saul Broudy Starlight on the Rails: A Songbook. 2005. By U. Utah Phillips; produced by Erica J. Haskell and John Smith. AK Press/Daemon Records, CDs (4), AKA041CD/DAM 19047. Bruce "U. Utah" Phillips is one of a kind—a storyteller, union organizer, philosopher, songwriter, performer, and Renaissance man. I first met him when he traveled from Utah in 1964 to attend the Galax (Virginia) Fiddlers' Convention and to visit the Doc Watson family, among others. I hitched a ride with him and some of his Utah Valley Boys and several days later took my leave at Nashville's Ryman Auditorium, home of the Grand Ole Opry. It was not until several years later that I heard his name again, when Idaho folksinger Rosalie Sorrels began singing his songs in the East. When Phillips moved east in 1969 to try a career as a folksinger, my University of Pennsylvania professor, Dr. Kenneth Goldstein, and I went to hear him perform. Kenny had recorded Phillips in Salt Lake City in 1961 for the Prestige record label (No One Knows Me, PR-13040). It was he who suggested that I do my dissertation on Phillips's performances (The Effect of Performer-Audience Interaction on Performance Strategies: "Moose-Turd Pie" in Context, 1982). Thus began my two-year stint on the road as Phillips's harmonica player and my familiarity with his song repertoire. There is certainly no dearth of opportunity to hear Phillips's recorded material. There are, for example, his early Philo Records albums (some combined and reissued on the Rounder CD The Telling Takes Me Home); his several Red House CDs including The Moscow Hold, which showcases his storytelling; and his recordings of "Wobbly" (Industrial Workers of the World, or IWW) songs such as "We Have Fed You All for a Thousand Years" (on Philo); and contributions [End Page 79] to Rebel Voices (Flying Fish) and Smithsonian Folkways's Don't Mourn, Organize: Songs of Labor Songwriter Joe Hill. There are his unusual collaborations with Ani DiFranco (Righteous Babe Records), with "Spider John" Koerner and "Ramblin' Jack" Elliott (Legends of Folk, a live recording on Red House), and with Rosalie Sorrels (The Long Memory on Red House). For a more complete list of recordings and their content, I suggest viewing his Web site at http://www.utahphillips.org/tapecd.html. Phillips even published a small songbook entitled Starlight on the Rails and Other Songs (Wooden Shoe) in 1973, in which he presents the words and music to forty-four of his songs. Twenty of these are on the CD set, and one could purchase the Wooden Shoe songbook at http://www.utahphillips.org/songbook/index.html to get the lyrics or view them at that Web site. Starlight on the Rails: A Songbook is an important complement to all of the above. It reframes his material in the form of a songwriter's diary and allows Phillips to reflect on how the songs functioned for him and what they have meant to him over the course of his life. These days Phillips's songs, storytelling, and general presence have become legendary among folk music aficionados, in countercultural circles, and wherever things need "shaking up." It is about time, now that he is over seventy, that a major compilation of his songs be available to the public. Taken from recordings made over his entire career, from early performances at the Smithsonian's Festival of American Folklife to later ones at clubs, union halls, and festivals, this CD set reflects Phillips's life goals and philosophy. It is a kind of "nonsequential diary of years spent 'banging about,'" as he says in his introductory track to the CD. His stories, whether prose or poetry, are drawn from his experiences with such folks as hoboes, miners, and union organizers, and from his life on the road. That is what this collection is all about: decades of a man's life and his understanding of history reflected in narratives and concentrated into songs. Phillips thinks of himself as a "song learner" and "songmaker," and he regards his songmaking as an effort shared by both himself and...

All Statements Are Insecure Questions: Eight Words toward a Theatre

There are eight words I return to. They are words I heard and haven’t been able to stop hearing. For the past three years, while I have been director of Small Wooden Shoe Theatre Co. in Halifax, they have been touchstones. I see them in the work I did with sabotage group before I heard them; I see them in all my plans and hopes for the future. So, eight words toward a theatre . . .1

Oat cell carcinoma metastasis to the foot

Initial isolation from the foot of a highly malignant primary bronchogenic carcinoma, small cell carcinoma (oat cell carcinoma), was identified via excisional biopsy from the right foot of a 42-year old nonsmoking Caucasian female. This patient denied any pertinent prior medical history, other than persistent pain in her right foot for approximately 1 year before seeking care. Incidental trauma prompted her to seek care, which consisted of immobilization via a wooden shoe. When symptoms persisted, her primary care physician referred her to my office for further evaluation.

When the North is the South: Life in the Netherlands

ESSAY When the North is the South Life in the Netherlands by Edward L Ayers fter years ofwatching colleagues fly to Paris,Johannesburg, Beijing , or Bogotá for research trips and speaking engagements, I decided to apply for a posting abroad. Holding only die vaguest and most stereotyped visions, I chose die Netherlands. My application stressed, perhaps impolitely, the direct Dutch involvement in the slave trade and their indirect connection to South African apartheid. Such commonalities widi white southerners, I suggested, might serve as the basis for interesting discussions of race and region. The Fulbright Commission accepted the application and told our family we would be stationed in the city of Groningen. Though on the map it looked a bit far removed from Amsterdam and Leiden, tucked away near the North Sea, the former Fulbright scholar in Groningen allayed our worries with his enthusiasm for the place and the people. Driving to Groningen in early March we predictably commented on the tidiness of the small towns we passed dirough and admired the stone churches that dominated tiieir centers. No tulips yet, and no one wearing wooden shoes, but it was early in the visit. Things were satisfyingly different but not alien or forbidding. We were pleased and relieved. As we neared Groningen at sundown we studied die map: Anna Paulownastraat , our appointed address, lay near the center oftown in the narrow streets of what had begun as a medieval city. We needed to gain our bearings and, to our surprise, the first convenient place to stop turned out to be a brand new McDonald 's restaurant, glowing with a familiar fluorescent sheen. Though it stood alone in an undeveloped area along the highway, the restaurant's parking lot was filled widi cars and lounging teenagers. Inside, we confronted a museum of American icons: a Harley, the rear end ofa pink Caddy, a life-size Marilyn, posters of Chuck, Buddy, and the King. Early rock music played on a jukebox. We had been in our adopted city for only a few minutes and we already heard familiar accents and reassuring backbeats. Maybe this wouldn't be so hard after all—though, to the astonishment of our children, the fries came covered widi mayonnaise. As we setded in we discovered that not everything had been McDonalds-ized. 45 Our apartment resided at the top ofsome satisfyingly European stairs, steep and narrow. Wal-Mart-like hours certainly did not rule in the Netherlands. The stores were shuttered all Saturday afternoon, all day Sunday, and Monday morning as well, with no 7-Elevens to offer a quart of milk or a loaf of bread. If you didn't have what you needed by Saturday at noon, you would do widiout for the entire weekend. Even the Southern Baptists of our east Tennessee youth had not been so strict. We loved the Dutchness of the tilings we saw but reveled in the flashes of the familiar. The television proved a big help in finding the comforts of home, since we could watch alf and die A-Team every day, along with episodes of die Cosby Show and Family Ties. We could also see die Dukes of Hazzard careening around the California landscape that masqueraded, poorly as ever, as north Georgia . Even with Dutch subtities across the bottom of the screen, the fake South appeared before us with a comforting regularity and with fewer commercial interruptions. Despite such touches ofhome, I entered class the first day with some trepidation . What would the students know about the United States? I gained some insight when I was introduced as a visitor from the University ofVirginia and heard a male voice in the back ofthe room stage-whisper, "They're in the final eight this year," referring to our men's basketball team, which had just defeated Kansas in the NCAA tournament. It turned out diat a number of the students had lived in die States during high school, though none in the South, and they spoke widi easy familiarity and unshakable opinions. They felt certain that the United States was 40 percent African American and diat the great majority ofblack Americans, the Cosbys notwithstanding, lived in urban ghettoes. It...

DETECTING AND TREATING COMMON FRACTURES OF THE FOOT AND ANKLE. PART 2: THE MIDFOOT AND FOREFOOT

Midfoot and forefoot fractures brief commonly seen in a primary care practice include navicular and metatarsal stress fracture, tarsometatarsal fracture-dislocation, and acute fracture of the metatarsals, sesamoid, great toe, or lesser toes. A careful history to determine the mechanism of injury and a methodical physical exam to detect sites of tenderness are essential. X-rays are usually required, but stress fractures may warrant bone scans. Compared with ankle and hindfoot fractures, sports-related midfoot and forefoot fractures are more often treated conservatively with casting or wooden shoes. Tarsometatarsal disruption and Jones fractures are more likely to require surgery.

Detecting and Treating Common Foot and Ankle.

In brief Midfoot and forefoot fractures commonly seen in a primary care practice include navicular and metatarsal stress fracture, tarsometatarsal fracture-dislocation, and acute fracture of the metatarsals, sesamoid, great toe, or lesser toes. A careful history to determine the mechanism of injury and a methodical physical exam to detect sites of tenderness are essential. X-rays are usually required, but stress fractures may warrant bone scans. Compared with ankle and hindfoot fractures, sports-related midfoot and forefoot fractures are more often treated conservatively with casting or wooden shoes. Tarsometatarsal disruption and Jones fractures are more likely to require surgery.

Detecting and Treating Common Fractures of the Foot and Ankle

Midfoot and forefoot fractures commonly seen in a primary care practice include navicular and metatarsal stress fracture, tarsometatarsal fracture-dislocation, and acute fracture of the metatarsals, sesamoid, great toe, or lesser toes. A careful history to determine the mechanism of injury and a methodical physical exam to detect sites of tenderness are essential. X-rays are usually required, but stress fractures may warrant bone scans. Compared with ankle and hindfoot fractures, sports-related midfoot and forefoot fractures are more often treated conservatively with casting or wooden shoes. Tarsometatarsal disruption and Jones fractures are more likely to require surgery.

Stress fractures at the base of the second metatarsal in ballet dancers.

Stress fractures are a frequent injury in ballet companies and the most common location is at the base of the second metatarsal. While previous reports have focused on risk factors for this injury (overtraining, delayed menarche, poor nutrition), there is no published series describing the natural history and outcome following this fracture. We reviewed the office records of the senior author and identified 51 professional dancers (64 fractures) who sustained a stress fracture at the base of the second metatarsal. History of a previous stress fracture in the lower extremity was seen in 19 patients and delayed menarche in the women was common. The clinical presentation was insidious onset of midfoot pain an average of 2.5 weeks prior to seeking medical care. The initial radiographs of the foot were positive in 19 patients, questionable in 3 patients, and negative in 42 patients. The usual location of the fracture was at the proximal metaphyseal-diaphyseal junction (three fractures extended into the tarsometatarsal joint). Treatment consisted of a short leg walking cast for 6 patients, and a wooden shoe and symptomatic treatment for the remainder. At follow-up, 14% of patients still had occasional pain or stiffness in the midfoot with dancing. The patients returned to performance at an average of 6.2 weeks following diagnosis. No patients required bone grafting for persistent symptoms. There were eight refractures (at the same site) occurring an average of 4.3 years, all of which healed with conservative care. Stress fractures at the base of the second metatarsal are common in ballet dancers and can usually be treated with symptomatically. The results of this study are discussed in terms of risk factors, the use of a posterior-anterior view of the foot to eliminate overlap at Lisfranc's joint, and our present treatment regimen.

Evaluation of two instruments for recording sitting and standing postures and number of foot steps

The study evaluates two simple instruments that may be used to describe aspects of physical workload in almost any occupation: a pedometer, which measures the number of steps taken by the subject wearing it, and a posimeter, which quantifies the time spent sitting and the number of changes between sitting and a The present data showed that the pedometer registers the correct number of steps at ‘ordinary’ walking speed independent of type of floor (plastic carpet and stone floor), shoes (wooden shoes and sneakers) and gender. At ‘slow’ walking (2.4 km/h) a reduced number of steps was recorded. In a field study the median difference between pedometer registration and observation was 6% (range 1–27) of the observed obtained for the five investigated pedometers was 0–15%. The posimeter was found to give a good estimate of the percentage time spent sitting (mean deviation 3%, range 0–15%). The number of changes between sitting and standing was overestimated by the posimeter (median deviation 63% of the observed). Some extreme working postures can be misread by the posimeter.

In-shoe plantar pressure measurement of the first metatarsophalangeal joint in asymptomatic patients.

Using an in-shoe plantar pressure sensor, the pressure under the first metatarsophalangeal (MTP) joint was measured in 20 asymptomatic control subjects during their normal gait. A 7-micron in-shoe pressure sensor recorded the pressure under the first MTP joint in the 20 volunteers while they were wearing their normal footwear (athletic footwear), a wooden postoperative shoe, a fiberglass short leg walking cast, and a postoperative shoe with a first MTP joint cutout orthotic device. The results showed both casting, and the postoperative shoe with the first MTP joint cutout orthotic device significantly reduced pressure under the first MTP joint compared with normal footwear, with an average decrease of 31% and 43%, respectively. However, the standard postoperative shoe did not significantly reduce first MTP pressure compared with normal footwear. Certain surgeries performed on the distal first metatarsal may benefit from a diminution of loading forces encountered during normal gait. The results of this study indicate that a reduction of first MTP pressures can best be accomplished with either a postoperative shoe with a cutout orthotic device or a short leg walking cast. A standard postoperative shoe showed inconsistent results and had no statistically significant effect on decreasing the pressure under the first MTP joint.

Celtic Etymologies for Old English &lt;italic&gt;cursung&lt;/italic&gt; ‘curse’, &lt;italic&gt;gafeluc&lt;/italic&gt; ‘javelin’, &lt;italic&gt;stær&lt;/italic&gt; ‘history’, &lt;italic&gt;syrce&lt;/italic&gt; ‘coat of mail’, and Middle English &lt;italic&gt;clog(ge)&lt;/italic&gt; ‘block, wooden shoe’, &lt;italic&gt;cokkunge&lt;/italic&gt; ‘striving’, &lt;italic&gt;tirven&lt;/italic&gt; ‘to flay’, &lt;italic&gt;warroke&lt;/italic&gt; ‘hunchback’

Journal Article Celtic Etymologies for Old English cursung ‘curse’, gafeluc ‘javelin’, stær ‘history’, syrce ‘coat of mail’, and Middle English clog(ge) ‘block, wooden shoe’, cokkunge ‘striving’, tirven ‘to flay’, warroke ‘hunchback’ Get access Andrew Breeze Andrew Breeze University of NavarrePamplona Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume 40, Issue 3, September 1993, Pages 287–297, https://doi.org/10.1093/nq/40.3.287 Published: 01 September 1993

Occupational lifting by nursing aides and warehouse workers.

Nursing aides (18 women and six men) at one traditional and one modern geriatric ward, and warehouse workers (16 men) at two different types of warehouse departments were studied during occupational work. The vertical load during manual handling was measured using strain gauges built into wooden shoes. The warehouse workers performed four times as many lifts as the nursing aides and transferred five times as great a mass per unit time. Less than 25% of the lifts were carried out with the load evenly distributed on both feet during both the upward lift and lowering. In the warehouses the lifts were short, while the nursing aides were exposed both to lifts of longer duration and to carrying, as well as a greater frequency of unexpected, sudden and high peak load. The heart rate and oxygen uptake values recorded were relatively low, and both groups utilized approximately 25% of their maximum aerobic power. According to official occupational injury statistics, both warehouse workers and nursing aides belong to risk groups with a high frequency of reported back injuries. However, more injuries are reported by nursing aides than by warehouse workers. Greater muscle strength in male workers may partly explain this difference. Qualitative differences in the design of the lifting work, with more lifts of long duration in awkward work postures, more carrying, more exertion of horizontal forces and a greater frequency of unexpected rapid lifts in the nursing aides may also contribute to the differences in risk of injury between these occupational groups. Considerable differences were found between the two hospital wards as regards lifting frequency, force, duration and the proportion of lifts with an even distribution of load on both feet during upward lift. The lifting work was approximately 50% less in the modern ward, which has easily maneuvered electric overhead hoists, spacious premises and better work organization than in the traditional ward, even though the patient handling needs were equivalent. In the warehouse department at which the wares were stored with easy access, the frequency of lifts with an even distribution of load on both feet was approximately 25%, compared to 7% in the other warehouse department. In conclusion, evaluations of occupational lifting work should include a quantitative assessment of the duration and load distribution of lifting, as well as of postures. Workstation design, technical aids and work organization have a profound effect on the lifting work load even in jobs with equal manual handling demands.

Dance and dance music in the Netherlands in the 18th century

but with anachronistic wooden shoes (klompen). But if, in the words of the economic historian Jan de Vries, 'we confront the stern matron who guards historical fact' a very different picture emerges. In his preface to the volume of the Oxford History of Modem Europe covering the Low Countries 1780-1840, E. H. Kossmann stated, 'I have totally omitted the history of art and music'. The practice of dancing did not come within his terms of reference at all, even by omission, and the strongly individual dance-culture of the Netherlands, which still flourished to some extent at the beginning of Kossmann's period, but was

A Contribution to Our Knowledge of Tu-chung — Eucommia Ulmoides

Tu-chung is an officinal herbal drug of traditional Chinese medicine. It is obtained from the bark of Eucommia ulmoides. Since time immemorial the Chinese people have used it as a revitalizing and rejuvenating agent. Modern investigators in China found its antihypertensive action and this property has been confirmed by scientists outside of China. In this article, basic information for an understanding of tu-chung obtained from ancient Chinese records and modern reports of various investigators in several disciplines of plant sciences, and of physiologists, pharmacologists, physicians, and phytochemists, is presented. The author suggests that eucommia should be used only for the common name of the plant, and tu-chung be used for the drug. Eucommia is now widely cultivated in arboreta and botanical gardens as a rare plant outside of China. In China and the Soviet Union, plantations of eucommia are operated under government management for the production of gutta-percha. The author advocates that eucommia should be taken out of gardens and research laboratories and be put into plantations for the production of a safe antihypertensive natural drug. As by-products of the manufacture of the hypotensive product, a useful gum for industry, fine quality wood suitable for wooden shoes and clogs, and a high grade oil from the seed will make the cultivation of eucommia very rewarding.