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Purpose To better understand the multidimensional construct of Fear of Cancer Recurrence (FCR) in cancer survivors, the purpose of this study was to highlight key FCR symptoms and their strongest associations with depression and anxiety comorbidities. This approach is critical for developing effective interventions tailored to cancer survivors. We also investigated whether the network changes its symptom connectivity across different diagnostic and treatment subgroups classified as vulnerable or less vulnerable. Methods. We collected data from 234 cancer survivors (women: 78.20%; mean age: 35.58) who had been diagnosed with cancer, were undergoing cancer treatment, or had completed treatment. In addition to cancer-related data that allowed subgrouping, they completed the Fear of Cancer Recurrence Inventory (FCRI) and the Hospital Anxiety and Depression Scale (HADS). The FCRI is a multidimensional construct that captures symptoms on the spectrum of intrusive thoughts, coping skills, and five others. Networks were estimated using the Gaussian graphical model. Results. The main findings suggest that intrusive thoughts were overall the most influential network symptoms. However, coping skills were central to the network and associated with depression only in the vulnerable subgroups. Conclusions. The present study found that intrusive thoughts were core network symptoms, whereas coping skills and their association with depression were significant only for some subgroups. Implications. Future clinical trials and interventions for FCR should specifically target intrusive thoughts and other repetitive thinking patterns. More research should be conducted to understand the unique characteristics of survivors and their interaction with symptomatology to maximize treatment efficacy., Author(s): Liviu A. Fodor [sup.1] [sup.2] , Diana Todea [sup.3] [sup.4] , Ioana R. Podina [sup.3] [sup.5] Author Affiliations: (1) https://ror.org/02rmd1t30, grid.7399.4, 0000 0004 1937 1397, International Institute for The [...]

Until around 1940, the complex work of opera staging was divided between orchestra conductors, designers and technical directors. Gradually, however, staging became "a passion (...) for critics, aesthetes, and scholars, an ambition for leading actors, and an incessant problem for the directors of opera houses."² There was a constant need for the emergence of directing specialists in the artistic environment, and their role became increasingly flexible in the period immediately following World War II. Nowadays, opera directors are virtual creators having multiple options at hand with regard to staging. They can choose from classical, traditional staging, where observing the intentions of the author is a prerequisite, to a contemporary, more up-to-date directing approach, where the subject of the opera is transposed into a different time and space, implying, at the same time, a reinterpretation and adaptation of codes. They can also resort to the so-called "modern", radical directing, where opera itself becomes a mere tool used to comply with the director's intentions. We consider the staging of the opera Hänsel and Gretel at the Romanian National Opera House in Cluj-Napoca between 2006 and 2015 as our personal follow out to the traditional staging practice, as a technical director. [ABSTRACT FROM AUTHOR]

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Melodrama or dramma per musica are terms describing the opera genre that was used for more than a century since its appearance. This genre states literary pretensions and reinforces the principle that governed this period, namely that the opera is nothing but "a solid branch of dramatic literature." In the early eighteenth century it was intended to save this "spectacular show" and purify it of all the adjacent and useless elements - overlapping plots, numerous characters, the mix of tragic elements and of puffs, abundant scenery and scenic machineries etc. The initiative come in this context from the men of letters. This reform, which was first of all a literary one led to the development of opera seria; half a century later, when one would focus again on the innovations of the genre there will be a second reform, this time more than dramatic since it will have solid musical and theoretical foundations. [ABSTRACT FROM AUTHOR]

Opera performances are characterized in the seventeenth century by heterogeneity which brings together in the musical-drama perspective, both tragic and comic situations. These make the serious scenes to constantly mix with various comic episodes. This approach is maintained until the early eighteenth century, when the former dramma per musica, which aimed to be entertainment for the aristocracy, removes from its librettos the comic element that is found to be irrelevant to the topic and not in accordance with the tragic style. During this period there was emphasised the need for the retrieval of verisimilitude and simplicity which were to be found in the comic opera emerged from the common people. These two trends will mark the final separation between the serious and comic styles that will begin to develop from now on towards two independent types, opera seria and comic opera. [ABSTRACT FROM AUTHOR]

Departing from the idea that the opera is the most accomplished form of performance, this study proposes a review of its first manifestations. The purpose is that of clearifying the controversial evolution of the genre and the theatrical-musical forms that preceded it. In the beginning the opera was supposed to be a complete performance where the musical, literary, and spectacular elements would combine perfectly. Taking into consideration these basic characteristics, we intend to analyse and structure the main genres that led to the emergence of the opera. At the same time we underline the profile and the role held by music starting with the Ancient Tragedy to the latest form that foreshadows the opera performance - the dramatic madrigal. [ABSTRACT FROM AUTHOR]

In this paper I argue that the debate which focuses around the right of immigration can be redirected towards a new perspective: we should focus on signing contracts for immigration which automatically will give the right to immigrate to the potential immigrant that signs this contract with an individual/group/community from the host state. This contract has a symbolic meaning: it guarantees to the citizens from within the host state that the immigrant has good will and he is willing to be responsible for his future acts and these will not negatively affect the host society. The rights of both immigrants and citizens of the host states are protected via the Ropenr contract of immigration which supports the idea that immigrants become a commodity on the international market. [ABSTRACT FROM AUTHOR]

In this paper I analyze the impact that immigration has on the culture of nations and on different categories of people. Firstly, I shall present the existing arguments in the literature focused on the effects of immigration on the culture of nations, to what extent the effects are negative or, on the contrary, positive. Secondly, I will present the consequences of immigration on the following categories of people: entrepreneurs, remaining individuals from the sending countries, native workers and employers from the host countries and the immigrants themselves. These consequences will be analyzed in relation with the labor market, the influence on the local wages and on sending and receiving countries. [ABSTRACT FROM AUTHOR]

The article presents philosophical arguments on immigration in the essence of libertarian reasoning. It analyzes the arguments in favor and against immigration, stressing out the inconsistency of sustaining closed borders within the libertarian framework. Moreover, it investigates the libertarian account of immigration, including the definition of libertarianism as a liberty and a self-ownership principle, which has two types, which are external ownership and self-ownership.

In this paper the discussion focuses on the freedom of movement, on the perspective of open borders and the right of exit from communities. Firstly, I offer a discussion on normative claims about immigration. Taking into account that immigration should be sustained, I analyse the arguments that promote this position. Secondly, I respond to the converse claim that immigration should not be supported from a libertarian perspective. A consequentialist libertarian would prefer immigration due to its positive effects it has on society and that it maximizes liberty. A deontological libertarian will oppose immigration, on the false premise that it inflicts abuses and creates disorder. I conclude that a libertarian should support immigration because it pleads for the maximization of liberty for all individuals, whereas the decision to close the borders and restrict freedom of movement supports the constraints of the state upon the free will of individuals. [ABSTRACT FROM AUTHOR]