The growth patterns of mammary fat pads and glandular tissues inside the fat pads may be related with the risk factors of breast cancer.Quantitative measurements of this relationship are available after segmentation o...The growth patterns of mammary fat pads and glandular tissues inside the fat pads may be related with the risk factors of breast cancer.Quantitative measurements of this relationship are available after segmentation of mammary pads and glandular tissues.Rat fat pads may lose continuity along image sequences or adjoin similar intensity areas like epidermis and subcutaneous regions.A new approach for automatic tracing and segmentation of fat pads in magnetic resonance imaging(MRI) image sequences is presented,which does not require that the number of pads be constant or the spatial location of pads be adjacent among image slices.First,each image is decomposed into cartoon image and texture image based on cartoon-texture model.They will be used as smooth image and feature image for segmentation and for targeting pad seeds,respectively.Then,two-phase direct energy segmentation based on Chan-Vese active contour model is applied to partitioning the cartoon image into a set of regions,from which the pad boundary is traced iteratively from the pad seed.A tracing algorithm based on scanning order is proposed to accurately trace the pad boundary,which effectively removes the epidermis attached to the pad without any post processing as well as solves the problem of over-segmentation of some small holes inside the pad.The experimental results demonstrate the utility of this approach in accurate delineation of various numbers of mammary pads from several sets of MRI images.展开更多
Applying the theory of adaptation, Feminism, and Performance Studies, this paper explores the adaptation, inter-textuality, and gender in the three films The Tempest （2010） directed by Julie Taymor, Prospero＇s Boo...Applying the theory of adaptation, Feminism, and Performance Studies, this paper explores the adaptation, inter-textuality, and gender in the three films The Tempest （2010） directed by Julie Taymor, Prospero＇s Books （1991） directed by Peter Greenaway, and Shakespeare in Love （1998） directed by John Madden, referenced to Gnomeo and Juliet （2011）, a cartoon animation. Both films of The Tempest show visual spectacle and technology images by CGI （Computer-Generated Cinematic Graphic Image） effect. The author argues the power struggle between Caliban and Prospero played by actress Helen Mirren, changes from post-colonial discourse in the male domain, to be more about the intellect contest between man and woman, and Taymor＇s adaptation is more focused on maternity than actor John Gielgud＇s on politics. Inter-textuality exists in Shakespeare in Love and Shakespeare＇s Romeo and Juliet, and Twelfth Night. Unlike the tragedy in the films, Gnomeo and Juliet ends happily as we can expect from most musicals and fairy tales. The inter-textuality of literature and art, dramatic plays, historical events, and biographical sketches are delicately intertwined. Media represent Shakespeare applied by Jean Baudrillard＇s ＂simulacra＂ and Richard Schechner＇s ＂simulation＂ to present the liminal threshold between reality, role-playing, and theatricality. Shakespeare represented by media rise to visual narratives.展开更多
基金Supported by National Basic Research Program of China (No.2003CB716103)partially supported by the US Army Breast Cancer Research Program (DAMD17-03-1-0446)
文摘The growth patterns of mammary fat pads and glandular tissues inside the fat pads may be related with the risk factors of breast cancer.Quantitative measurements of this relationship are available after segmentation of mammary pads and glandular tissues.Rat fat pads may lose continuity along image sequences or adjoin similar intensity areas like epidermis and subcutaneous regions.A new approach for automatic tracing and segmentation of fat pads in magnetic resonance imaging(MRI) image sequences is presented,which does not require that the number of pads be constant or the spatial location of pads be adjacent among image slices.First,each image is decomposed into cartoon image and texture image based on cartoon-texture model.They will be used as smooth image and feature image for segmentation and for targeting pad seeds,respectively.Then,two-phase direct energy segmentation based on Chan-Vese active contour model is applied to partitioning the cartoon image into a set of regions,from which the pad boundary is traced iteratively from the pad seed.A tracing algorithm based on scanning order is proposed to accurately trace the pad boundary,which effectively removes the epidermis attached to the pad without any post processing as well as solves the problem of over-segmentation of some small holes inside the pad.The experimental results demonstrate the utility of this approach in accurate delineation of various numbers of mammary pads from several sets of MRI images.
文摘Applying the theory of adaptation, Feminism, and Performance Studies, this paper explores the adaptation, inter-textuality, and gender in the three films The Tempest （2010） directed by Julie Taymor, Prospero＇s Books （1991） directed by Peter Greenaway, and Shakespeare in Love （1998） directed by John Madden, referenced to Gnomeo and Juliet （2011）, a cartoon animation. Both films of The Tempest show visual spectacle and technology images by CGI （Computer-Generated Cinematic Graphic Image） effect. The author argues the power struggle between Caliban and Prospero played by actress Helen Mirren, changes from post-colonial discourse in the male domain, to be more about the intellect contest between man and woman, and Taymor＇s adaptation is more focused on maternity than actor John Gielgud＇s on politics. Inter-textuality exists in Shakespeare in Love and Shakespeare＇s Romeo and Juliet, and Twelfth Night. Unlike the tragedy in the films, Gnomeo and Juliet ends happily as we can expect from most musicals and fairy tales. The inter-textuality of literature and art, dramatic plays, historical events, and biographical sketches are delicately intertwined. Media represent Shakespeare applied by Jean Baudrillard＇s ＂simulacra＂ and Richard Schechner＇s ＂simulation＂ to present the liminal threshold between reality, role-playing, and theatricality. Shakespeare represented by media rise to visual narratives.
