Perfluorinated alkylated substances (PFAS) have been extensively used in consumer products and humans are widely exposed to these persistent compounds. A recent study found no association between ...exposure to perfluorooctanoic acid (PFOA) and perfluorooctanesulfonic acid (PFOS) and miscarriage, but no studies have examined adverse effect of the more recently introduced PFASs. We therefore conducted a case-control study within a population-based, prospective cohort during 2010-2012. Newly pregnant women residing in the Municipality of Odense, Denmark were invited to enroll in the Odense Child Cohort at their first antenatal visit before pregnancy week 12. Among a total of 2,874 participating women, 88 suffered a miscarriage and 59 had stored serum samples, of which 56 occurred before gestational week 12. They were compared to a random sample (N=336) of delivering women, who had also donated serum samples before week 12. Using a case-control design, 51 of the women suffering a miscarriage were matched on parity and gestational day of serum sampling with 204 delivering women. In a multiple logistic regression with adjustment for age, BMI, parity and gestational age at serum sampling, women with the highest tertile of exposure to perfluorononanoic acid (PFNA) and perfluorodecanoic acid (PFDA) in pregnancy had odds ratios for miscarriage of 16.5 (95% CI 7.4-36.6-36.5) and 2.67 (1.31-5.44), respectively, as compared to the lowest tertile. In the matched data set, the OR were 37.9 (9.9-145.2) and 3.71 (1.60-8.60), respectively. The association with perfluorohexane sulfonic acid (PFHxS) was in the same direction, but not statistically significant, while no association was found with PFOA and PFOS. Our findings require confirmation due to the possible public health importance, given that all pregnant women are exposed to these widely used compounds.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
Fairy tales have been an essential ingredient in children's literature. Canonical fairy tales passed down from generation to generation not only enrich children's imagination but connote significant ...values typical of the community. However, as time passes, contemporary writers often challenge these traditional values when they work on the same topic. This changing face is evidenced by Emma Donoghue's rewriting of classical tales. Based on my teaching of Donoghue's story 'The Tale of the Bird' alongside Andersen's 'Thumbelina' at a university in Hong Kong, this paper discusses the ever-evolving cultural values and the benefit of reading Donoghue via Andersen or vice versa in the literature class and beyond.
International Children's Book Day (ICBD) is celebrated by IBBY members on or around the birthday of Hans Christian Andersen: April 2. Each year a different national section of IBBY has the ...opportunity to be the international sponsor of ICBD. It decides upon a theme and invites a prominent author from the host country to write a message to the children of the world and a well-known illustrator to design a poster. The 2021 poster and message were sponsored by USBBY; Margarita Engle wrote the delightful poem "The Music of Words," which was accompanied by the stunning artwork of Hans Christian Andersen Award winner (2014) Roger Mello.
"I listened to them children, really, at their height. What they had to tell me seemed much more interesting than anything anyone could. Luminous, powerful, touching, stirring. It's this force of ...childhood that I try to show in my novels."
The present study aims to highlight some themes, directions and ethical aspects revealed by Andersen's fairy tales, the conception of the world, our existence and its meaning. Andersen is a romantic ...who sees childhood as a pure, but fleeting and sometimes tragic age. Some critics spoke of metaphysical themes and his desire to draw the ideal of humanity but they also offer us a pretext for analysis and meditation.
EDITOR'S NOTE 1 Bernheimer, Kate
Fairy tale review,
01/2019, Letnik:
15, Številka:
1
Journal Article
Recenzirano
The young student, whether hither or thither, will still remark that Angela Carter over-adorns her pink stories and is trying to make fun of men, and he will rebel against her pink punk feminism. ...Everywhere we encounter stories that ought not be read to the very nervous adult, one keen on preserving unequal axes of power, an anti-pink if you will, as these stories border on blasphemy in that regard, and this can include pink ghost stories. Please note that some of these pink works were filtered first through the African, or the Catalan, or the Latvian, or the Zambian, or the English-language variations from many years past (or more recently) which our esteemed and debut authors have researched or merely enjoyed, as if enjoyment were mere; and you will find the rosiest of influences, if you choose to look for these.
The article explores the disabled female gaze through the titular character in Hans Christian Andersen's fairy tale "The Little Mermaid" (1837), arguing that sight is a strategy of empowerment that ...challenges the able-bodied male gaze. Andersen's fairy tale-and its accompanying visual forms, including sculpture and illustration-is placed in dialogue with Literary Disability Studies, examining how the little mermaid is depicted as an objectified spectacle. Throughout the narrative, she contends with gendered constraints and bodily impairment as a result of her transition from mermaid to human. However, the article also suggests that the little mermaid's gaze is an implicit, interrogative device for female emancipation because she challenges the able-bodied male gaze. Existing scholarship has considered gender and disability in "The Little Mermaid," but the gaze is yet to be addressed in relation to these arguments. Examining the intersections between femininity, disability, and the gaze disrupts and reimagines critical traditions of the gaze, and Andersen's representation of the little mermaid character does in part uphold feminine and ableist norms. However, this representation also offers a tantalising glimpse into how new approaches toward the female disabled gaze (in contrast to the highly theorized male gaze) can be derived from nineteenth-century children's literature.
The years 1900–1950, considered in Chapter 4, relate significant societal change and shift as they include World War I, the interwar period and global economic crisis, the adoption of the welfare ...state, and World War II. Christensen and Appel turn their attention to the influence of the welfare state on the expanding book market in Denmark, "related to a growing interest in the quality and importance of children's reading" (60). Part of the significance of such a political institution is its consideration of children, childhood, and childhood literacy, especially in light of a growing sense that "children had the power to change society" and "ought to be addressed and treated as 'small fellow citizens' and individuals in their own right" (63). If you will permit me, this chapter reads like rapid-fire headlines: the Danish scandal depicting an illustration of Muhammad (85); increasing economic inequality within the welfare state (86); computers and YouTube (87); digitization of books and texts creating increased access for children (88); Instagram and TikTok allowing children to become "(co)producers of content" (89); the impact longer school days have had on Danish libraries (90); the rise of e-books (91–92); scholarly attention to minority authors (94–95); struggling with "Denmark's colonial past and postcolonial challenges" (95); and Greta Thunberg and climate change (96).
This article explores how Hanna Cormick's performance The Mermaid advances an understanding of air as a substance that connects bodies in lively, dangerous, and potentially even deadly ways. As ...someone who lives with multiple chronic health conditions that are activated by environmental or chemical pollutants, Cormick is particularly attuned to seemingly innocuous airborne substances. This article considers how The Mermaid draws on Cormick's lived experience to illustrate what Stacy Alaimo describes as 'performances of exposure', a concept that demonstrates how humans are linked in a transcorporeal relationship to the environment in life sustaining and life destroying ways. When performing live, Cormick lives with the very real possibility that she will have a seizure or an allergic reaction in response to an airborne pollutant in the performance space. This risk therefore prompts questions related to ethical spectatorship, as audiences are forced to grapple with their own complicity and responsibility in creating a safe and liveable space for Cormick and each other. In much the same way that the COVID-19 pandemic has brought to the fore the dangers of shared (air) space and airborne transmission, so too does The Mermaid highlight our communal responsibility for the health and safety of others, and of the Earth. What is revealed by considering the ways we are materially linked to the air/space in which performances like The Mermaid take place? What kinds of ethical stakes emerge when we acknowledge the shared air/space of the performance as teeming with meaning? How does positioning the work as a performance of exposure make us more acutely aware of our enmeshment in the world, our culpability in the escalating effects of climate change, and our responsibility in cultivating communally liveable (and breathable) air/spaces? In posing these questions, this article considers how Cormick's work presents new forms of ethical relations that are based on a politics of atmospheric exposure.
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