Titlebook: Kate Chopin and Catholicism; Heather Ostman Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer

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Heather Ostmanay may cause postoperative functional deficit. Diffusion MR tractography remains the only noninvasive method of determining the subcortical course of white matter tracts. Tractography based upon diffusion MR can follow a specific white matter tract from voxel to voxel in 3D through the brain. Diffus

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Heather Ostmanain tumor vascularity is important because there is a close association between angiogenesis and prognosis. MR perfusion imaging, including arterial spin labeling, T2*-weighted dynamic susceptibility contrast (DSC), and T1-weighted dynamic contrast-enhanced methods, can provide the radiologist with

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Introduction,erican Catholicism in the late nineteenth and early twentieth centuries. Through a close reading of her novels and numerous short stories, . examines the ways Chopin represented Catholicism in her work as a literary device that served on multiple levels: as an aesthetic within local color depictions

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,Chopin and Catholicism in America, 1850–1904,re during a time when Catholicism underwent an enormous shift in the United States. This chapter distinguishes her from her Catholic literary peers, who, from 1840 to 1920, infused much of their fiction with Catholic doctrine and pious examples of womanhood. But Chopin appears not to have been inter

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Social and Religious Critique and Transformation through the Short Fiction,f Catholic aesthetics, symbols, traditions, and dogma as social and religious critique. With an exploration of “l(fā)ocal color” as a subgenre that facilitated such critique, this chapter examines stories such as “After the Winter,” “With the Violin,” “A Matter of Prejudice,” “At Chêniere Caminada,” “A

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,“Catholic Modernism” and the Short Stories,ernism and naturalism, as both movements began to transform American literature at the end of the nineteenth century. In a step away from the emphasis on local color fiction, the chapter emphasizes Chopin as a new kind of Catholic writer, whose use of a Catholic aesthetic complemented the experiment