Abstract
Objective
To determine the incidence rate, predictors and outcome of severe infections in a population-based cohort of ANCA-associated vasculitis (AAV).
Methods
The study included 325 cases ...of AAV (152 female) diagnosed from 1997 through 2016 from a defined geographic area in Sweden. All severe infection events (requiring hospitalization and treatment with intravenous antimicrobials) were identified. The Birmingham vasculitis activity score (BVAS) was used to evaluate disease activity, and organ damage was assessed using the vasculitis damage index (VDI). Patients were followed from time of AAV diagnosis to death or December 2017.
Results
A total of 129 (40%) patients suffered at least one severe infection. In 2307 person-years (PY) of follow-up, 210 severe infections were diagnosed. The incidence rate of severe infections was 9.1/100 PY and was highest during the first year following AAV diagnosis at 22.1/100 PY (P < 0.001). Pneumonia, sepsis and urinary tract infection were the most common infections. Opportunistic infections constituted only 6% of all severe infections. In Cox regression analysis age and BVAS at diagnosis were the only factors independently predicting severe infection hazard ratio: 1.54 (P < 0.001) and 1.27 (P = 0.001), respectively. Severe infection was associated with poorer prognosis with respect to median VDI score 12 months post-AAV diagnosis, renal survival and mortality. Severe infections were the cause of death in 32 patients (22% of all deaths).
Conclusion
. Severe infection is a common problem in AAV, with the most important prognostic factors being older age and high disease activity at diagnosis. Severe infections are associated with permanent organ damage and high mortality.
I read with great interest the paper by Peter Sturrock and Kathleen Erickson (Sturrock & Erickson, 2020) on the Dedication in Shakespeare’s Sonnets. I am neither a scholar of literature, nor of ...Shakespeare, and I do not want to enter the fray as to who was the author of Shakespeare’s sonnets and plays. But I must confess that I found the arguments presented by Sturrock and Erickson intriguing. It is in that vein I would like to communicate an interesting finding. On page 302, Figure 21, of their paper, they present the Dedication of the Sonnets as a grid of 12 x 12 letters. This was done under the assumption that cryptograms can be deciphered better if they are laid out in a certain format. They then present the message they assume is contained there: “PRO PARE VOTIS EMERITER” as a devotion of Edward de Vere, the Earl of Oxford to his supposed friend, the Earl of Southampton, Henry Wriothesley. I find this a possible meaning. My experience with Latin texts – based on a translation of a medieval mystical writer from Latin into German and the reading of many original Latin texts, mainly from the middle ages and beyond (Hugo de Balma, 2017; Walach, 1994, 2010) – let another sequence jump out at me:
SI PATET PRO MIRE VERO RETIRO
The translation would read:
"If it becomes miraculously obvious who I am, I retire."
That this is a reference of the proposed author, Edward de Vere, to himself would become clear from the double use of “vero”.
The article offers a new figurative reading of Terra Vergine (1882), focusing attention on the colour of the sketches of d’Annunzio’s novels and retracing the critical bibliography, in order to ...outline the pictorial innovation, but without evading the prodromes in the poetic collections Primo vere (1879) and Canto novo (1882). In fact, they are important for demonstrating how d’Annunzio can be considered the architect of certain technical mechanisms typical of cinematography (even modern), capable of effectively conveying a sense of the ‘wonderful’ and the ‘sublime’.
Considerably modified and enlarged compared to the 1879 print, the second edition of Primo Vere, the work of Gabriele d’Annunzio’s poetic debut, was published in 1880. This contribution focuses on ...it, which aims to offer an overview of the representation of nature in its chromatic, musical and olfactory aspects. Portrayed from life or fruit of the imagination, the landscape triumphs in its colouristic value and with its symphonic strength in the alternation of acute, hoarse, powerful or delicate sounds, which sometimes give way to the enchantments of silence or intertwine with the inebriation of fragrances and scents that cloak the atmosphere.
For several generations scholars have held that Edward de Vere, Earl of Oxford, was a member of the Privy Council under Queen Elizabeth I. However, the only evidence provided was a letter from Apr ...1603, written by de Vere to his brother-in-law, Secretary of State Sir Robert Cecil, on the advent of King James of Scotland into England. Here, Goldstein proves that de Vere did indeed serve on the Privy Council.
One-third of portraits painted during the Tudor era remain unidentified because they do not offer any identifiers, such as name, crest, text, or identifiable location. Even small details, however, ...can provide important clues for identification. Here, Waugaman examines a 1580 painting of an anonymous sitter by an anonymous artist to see if the colors, iconography and artistic style of the portrait provide additional evidence for its subject being the 17th Earl of Oxford.
Vehicle reidentification has seen increasing interest, thanks to its fundamental impact on intelligent surveillance systems and smart transportation. The visual data acquired from monitoring camera ...networks come with severe challenges, including occlusions, color and illumination changes, as well as orientation issues (a vehicle can be seen from the side/front/rear due to different camera viewpoints). To deal with such challenges, the community has spent much effort in learning robust feature representations that hinge on additional visual attributes and part-driven methods, but with the side effects of requiring extensive human annotation labor as well as increasing computational complexity. In this article, we propose an approach that learns a feature representation robust to vehicle orientation issues without the need for extra-labeled data and adding negligible computational overheads. The former objective is achieved through the introduction of a Hanoi pooling layer exploiting ring regions and the image pyramid approach yielding a multiscale representation of vehicle appearance. The latter is tackled by transferring the accuracy of a deep network to its first layers, thus reducing the inference effort by the early stop of a test example. This is obtained by means of a self-knowledge distillation framework encouraging multiexit network decisions to agree with each other. Results demonstrate that the proposed approach significantly improves the accuracy of early (i.e., very fast) exits while maintaining the same accuracy of a deep (slow) baseline. Moreover, our solution obtains the best existing performance on three benchmark datasets. <xref ref-type="fn" rid="fn1"> 1 1
Online. Available: https://github.com/iN1k1/ .
Jannsch examines the paratexts of Sejanus His Fall by Edward de Vere. First performed at court in 1603, Sejanus was apparently well received, but later "hissed off the stage" when performed for the ...public at The Globe in 1604 (Jonson and Ayres 58-59). The play was entered into the Stationers' Register in November 1604, but not printed until after the copyright changed hands to Thomas Thorpe in August 1605. Ben Jonson later stated he was accused of "popery and treason" for Sejanus, but similar to the questions surrounding the accusations from Eastward Ho, it is not clear exactly when the accusations were made or if they applied to the performance or the publication of the play.
Francis Meres Revisited Stritmatter, Roger
Critical survey (Oxford, England),
09/2023, Letnik:
35, Številka:
3
Journal Article
Recenzirano
Abstract
Francis Meres’ 1598
Palladis Tamia
, subtitled in English ‘Wit's Treasury’, is a quintessential document in Shakespeare studies. With ten Shakespeare plays already in print anonymously, ...Meres’ commonplace book for the first time identifies ‘Shakespeare’ as a playwright, and within weeks of Meres’ book, the name ‘Shakespeare’ appears on the second quarto title pages of
Richard II
and
Richard III
, transforming ‘anonymous’ into ‘Shakespeare’ in a blink. This article analyses the methods of commonplace book arrangement used by Francis Meres, Master of Arts at both Cambridge and Oxford, to have his private say about Shakespeare. In his 1597
God's Arithmetic
, Meres approves the opinion of Pythagoras who wrote over the door of the entrance to his school: ‘Let none enter here that is ignorant in Arithmetic’. The ideas of
God's Arithemetic,
applied to
Palladis Tami
a, disclose Meres’ meticulous mastery of erudite humanist design that is the hallmark of his pedagogic method and his ‘post-Stratfordian’ conclusions.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
Hyde contributes new evidence that complements existing scholarship on the authorship of Troilus and Cressida-this includes Elizabethan theater productions, medieval manuscripts of Chaucer's magnum ...opus, The Canterbury Tales, and Oxford's use of the family motto in Troilus and Cressida. Troilus and his clever grammatical comparisons of truth are apparent to those who recognize the intricate interweaving of the Edward de Vere motto in these lines. The play's text after the bedroom scene then demonstrates the use of echolalia as a literary device, as the truth of Troilus is dramatically and ironically undercut by the falsity of Cressida. While Samuel Johnson may have tired of the incessant punning and quibbles of Shakespeare's dialogues, the true-truer-truest truth of Troilus repeatedly and successfully hammers home that his constancy is doomed to fail and that he will soon lose false Cressida.
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