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Background More than 5–8 % of endoscopically removed rectal polyps presumed to be benign contain invasive carcinoma. Tattooing has been advocated for follow-up localization of the resection site. Despite proven benefits, the authors propose that tattooing is not routinely performed when benign-appearing rectal polyps are endoscopically excised, thereby confounding management when invasive cancer is found. The secondary goal of the study was to determine the frequency of localization, polyp characteristics, and accuracy of predicting malignant potential at the authors’ institution. Methods All patients with rectal neoplasia discovered during endoscopic polypectomy from 1 January 2003 to 1 August 2010 were retrospectively identified from Temple University Hospital’s Tumor Registry. Demographic and clinical data were extracted from medical records including polyp size, gross appearance, pathology, resection margins, location based on preoperative colonoscopy, initial removal technique, tattoo performance, and ensuing procedures. Results During the study period, 49 patients had colonoscopic excision of presumed benign rectal polyps with ensuing diagnosis of neoplasia in the specimen. The malignant histology included adenocarcinoma ( n  = 5), carcinoma in situ ( n  = 21), carcinoid ( n  = 22), and composite carcinoid ( n  = 1). Only two polyps were tattooed at the initial polypectomy. Three polyps were “suspicious for malignancy.” None of the suspicious polyps were tattooed. One of the suspicious lesions was an adenocarcinoma, and the remaining two were benign. The distance from the anal verge was noted in only seven patients. The predominant excision technique was hot snare polypectomy ( n  = 29). None of the incomplete polyp excisions for 15 patients were “suspicious for malignancy” or tattooed. Several strategies were used to manage incomplete resections including surveillance (40 %), repeat colonoscopic polypectomy (27 %), and surgery (33 %). Conclusions Most malignant rectal polyps are neither diagnosed nor tattooed at initial colonoscopy. Moreover, the distance of the polyp from the anal verge is rarely measured, and gross characteristics are not well described. Tattooing of all endoscopically excised rectal polypectomy sites would avoid confounding of subsequent identification and management.

Brahms once remarked that he had learned nothing from Eduard Marxsen, despite years of piano and composition instruction and a continuing correspondence after Brahms left Hamburg until Marxsen died. Whereas no one believes Brahms learned nothing from him, Marxsen's life, works, teaching principles, and composing practices have not been examined before in enough detail to determine exactly what the influences could have been. Therefore, the first two chapters of this study trace the life and works of Marxsen, drawing on little known sources for the first time. The various facets of his career—as a pianist, composer, critic, teacher, and Liedertafel director—are rebalanced to reflect their actual proportions, including the surprising discovery that he virtually stopped composing after 1849. Until now Marxsen has been characterized as a composer mainly of songs and piano pieces, but he clearly thought his most important compositions were his symphonic works, which have only recently become available for study. They reveal not only his reverence for Beethoven, but for Schubert—providing a more direct link to Brahms than has previously been established—and other Romantic trends. Occasional startling innovations, such as an overture that begins in one key and ends in another, stand next to more conventional procedures. The study of Marxsen's songs, piano pieces, and male choruses completes the picture of his cross-genre predilection for certain harmonic devices, idiosyncratic tempo and dynamic markings, variation techniques, and, perhaps most impressive, unusual and mixed meters, all of which resonated with Brahms. The third chapter details the association between Brahms and Marxsen, from the student years when Marxsen stressed varying a theme organically and sonata-form technique, through the letter-writing phase, when Brahms often sought his teacher's advice. Unpublished letters show Marxsen as a keen observer and an advisor who could be counted on for details. I also address Brahms's possible involvement in editing some of Marxsen's manuscripts. The final chapter discusses Marxsen's influences on Brahms's works. Of greatest significance are variation techniques and unusual rhythmic groupings, but also certain harmonic progressions and idiosyncratic tempo markings, and the expressive use of uncommon dynamic markings.

Film adaptations of literary classics invite comparison with the texts upon which they are based in terms of their ability to reproduce not only narrative content but also the elements of their prose style, including diction, grammar and syntax, paragraph shape and rhythm, figurative language (irony, paradox, metaphor and symbol) and tone. To discover whether elements of prose style can be translated into cinematic terms and whether screen versions that approximate the prose style of their sources are superior to those that do not, this dissertation analyzes the elements of D. H. Lawrence's distinctive style in \"The Rocking-Horse Winner,\"Sons and Lovers and Women in Love, and compares each element of prose with its stylistic counterpart in the film. Anthony Pellisier's The Rocking Horse Winner, though departing from the clipped pace, detached, ironic tone, and ambiguous ending of Lawrence's story, conveys its fairytale atmosphere, simple diction, insistent repetitiveness, \"rocking\" sentence and paragraph rhythms, symbolic images, multiple ironies, and brooding atmosphere through a variety of imaginative cinematic techniques, including confined theatrical sets, moody film noir lighting, extreme camera angles, deep focus photography, zoom and tracking shots, parallel cut and climactic sequences, montages and superimposition, eerie soundtrack, and symbolic images. Despite strong acting by a predominantly British cast and picturesque black-and-white location photography in the English Midlands, Jerry Wald's Sons and Lovers disappoints not merely because it truncates and streamlines the story-line and motivations of the characters but principally because, with few exceptions, it fails to reproduce, cinematically, the passionate prose style of the novel--its rapid pace; driving, propulsive rhythms; concrete, symbolically charged visual details; natural, often mystical imagery, and above all, its eroticized diction. Although the novel's urgently serious tone is lightened in Ken Russell's Women in Love, the film captures the stylistic peculiarities of Lawrence's hyperbolic, densely metaphoric style through lush settings, vivid colors and costumes, sensuous textures, choreographed scenes, striking compositions, recurring visual parallelism and counterpoint, abrupt shifts and contrasts, and slow-motion photography. The intensification typical of Lawrence's language is evoked by speeded-up montages, repeated pulsating zooms, overlapping dissolves, horizontal images printed vertically, hand-held camera shots, eye-catching close-ups, as well as high and low-angle shots, intercut shots and match cuts. The novel's pervasive symbolism is embodied in unforgettable scenes, such as Gudrun's seductive dance before horned bulls or the famous firelit wrestling match between Birkin and Gerald.

To the Editor: The tone and message of \"Father's Vanishing Act Called Common Drama\" (news article, June 4) is angering and offensive.

Sir, - MJ Rosenberg states that Mahmoud Abbas's [Fatah] movement \"is fighting for a Palestinian state in 22 percent of historic Palestine\" (\"Abbas or Hamas?\" May 24). Since a State of Palestine has never existed in history, I'm not sure what \"historic\" place he is referring to. It is obvious that Rosenberg does not know, or is not willing to accept, that Fatah, like Hamas, wants to see the end of Israel. The only difference lies in each group's methodology: Hamas wants Israel gone immediately, while Fatah is willing to try to eliminate it in stages. Sir, - If \"Al-Qaida-linked terrorists in Gaza\" (May 20) portends the future, Ariel Sharon has done it again. On the pretext that the government would compromise Israel's security if it undertook significant actions supportive of President Abbas before the PA disarmed all non-PA Palestinian forces, the prime minister has delayed so long that a terrorist group (Jundallah, or \"Allah's Brigades\") has arisen over which Abbas has no influence. Now Sharon can argue that only a harsh punitive policy will bring security, meanwhile pursuing his expansionist objectives. Sir, - In response to the doubt expressed in Arieh O'Sullivan's \"Did American and other foreign volunteers help Arab fighters in '48?\" (May 17): I can affirm that one German mercenary, Herbert Pritzke, wrote a book about his experiences called Beduin Doctor. One of the German troops in British prisoner of war camps in Egypt, Pritzke was able to leave the camp and sign up with the forces of Haj Amin el-Husseini, the Nazi-collaborator mufti of Jerusalem. Pritzke also reported on the Arab flight from Jaffa before Jewish forces took the city.