Fleur morell biography of barack
•
Adam Ewing
Positions
- Honorary Associate Professor
- Mater Research Institute-UQ
- Faculty of Health, medicin and Behavioural Sciences
Overview
Background
Dr Ewing leads the Translational Bioinformatics Group at the Mater Research Institute - UQ, located at the Translational Research Institute (TRI). His research interests follow a common theme of developing and applying computational methods to investigate genomic mutation in evolutionary and disease-related processes. Dr Ewing fryst vatten a key collaborator on an array of projects spanning from basic research into clinical applications of Bioinformatics.
Availability
- Associate Professor Adam Ewing is:
- Available for supervision
Qualifications
- Doctor of Philosophy, University of Pennsylvania
Research interests
Computational methods for sequence analysis
Works
Search Professor Adam Ewing’s works on UQ eSpace
1 - 20 of 63 works
Other Outputs
Placental Imprintin
•
Facts and ideas from anywhere
THE POX
Open in a new tab
Deborah Hayden has written a wonderful book on syphilis, in which she describes the history of syphilis and its illness in some very prominent figures (1). About 15% of the earth's population in the 19th century apparently had syphilis at some time.
Ludwig van Beethoven (–): Whether Beethoven actually had syphilis has been debated for decades. He was known to associate with prostitutes. Beethoven's own doctor and friend for 10 years (–) weighed in on the side that Beethoven did indeed have syphilis. Sir William Osler also favored the syphilitic diagnosis in Beethoven. Leo Jacobssohn, an otologist, in and in , argued in favor of syphilis as a cause of Beethoven's deafness from damage to the eighth cranial nerve.
Ludwig van Beethoven was born to a poor family in Bonn in He studied harpsichord, piano, viola, and organ, and while he was still quite young his ability to improvise on the piano gained him access to the mus
•
New Private Collections
At the beginning of the 18th century at the latest originated new private collections, such as that of Count Christian Danneskiold-Samsøe () or that of the ‘Gehejmeraad’ (privy councillor) Poul Løvenørn (), to which the royal Kunstkammer later helped itself. It was from the latter collection that Kunstkammer director Wahl, who was also buying on the Hamburg art market in the s, acquired 38 paintings of predominantly Dutch and Flemish provenance.1
The composition of the private Danish art collections is only documented from the middle of the 18th century on, as leading court personalities and Copenhagen burghers began to collect art. Some of these collections only emerged in an auction catalogue and have been described with varying degrees of precision. While the auction catalogues of the Seehuus (), Mylius () und Hofman () collections mention only subjects, Morell’s catalogue for the Moltke collection takes the viewer through a veritable tour ra