With the improvement of cancer therapy, survival related to malignancy has improved, but the prevalence of long-term cardiotoxicity has also increased. Cancer therapies with known cardiac toxicity ...include anthracyclines, biologic agents (trastuzumab), and multikinase inhibitors (sunitinib). The most frequent presentation of cardiac toxicity is dilated cardiomyopathy associated with poorest prognosis. Monitoring of cardiac toxicity is commonly performed by assessment of left ventricular (LV) ejection fraction, which requires a significant amount of myocardial damage to allow detection of cardiac toxicity. Accordingly, this creates the impetus to search for more sensitive and reproducible biomarkers of cardiac toxicity after cancer therapy. Different biomarkers have been proposed to that end, the most studied ones included troponin release resulting from cardiomyocyte damage and natriuretic peptides reflecting elevation in LV filling pressure and wall stress. Increase in the levels of troponin and natriuretic peptides have been correlated with cumulative dose of anthracycline and the degree of LV dysfunction. Troponin is recognized as a highly efficient predictor of early and chronic cardiac toxicity, but there remains some debate regarding the clinical usefulness of the measurement of natriuretic peptides because of divergent results. Preliminary data are available for other biomarkers targeting inflammation, endothelial dysfunction, myocardial ischemia, and neuregulin-1. The purpose of this article is to review the available data to determine the role of biomarkers in decreasing the risk of cardiac toxicity after cancer therapy.
"Art and Social Justice Education" offers inspiration and tools for educators to craft critical, meaningful, and transformative arts education curriculum and arts integration projects. The images, ...descriptive texts, essays, and resources are grounded within a clear social justice framework and linked to ideas about culture as commons. Essays and a section written by and for teachers who have already incorporated contemporary artists and ideas into their curriculums help readers to imagine ways to use the content in their own settings. This book is enhanced by a Companion Website (www.routledge.com/cw/quinn) featuring artists and artworks, project examples, and dialogue threads for educators. Proposing that art can contribute in a wide range of ways to the work of envisioning and making a more just world, this imaginative, practical, and engaging sourcebook of contemporary artists' works and education resources advances the field of arts education, locally, nationally, and internationally, by moving beyond models of discipline-based or expressive art education. It will be welcomed by all educators seeking to include the arts and social justice in their curricula. Part I, The Commons: Redistribution of Resources and Power, begins with an introduction to section one by Therese Quinn and contains the following: (1) Justseeds: An Artists' Cooperative (David Darts); (2) Heidi Cody: Letters to the World and the ABCs of Visual Culture (Kevin Tavin); (3) Kutiman: It's the Mother of All Funk Chords (K. Wayne Yang); (4) ToroLab: Border Research Gone Molecular (Nato Thompson); (5) Mequitta Ahuja: Afro-Galaxy (Romi Crawford); (6) Emily Jacir: The Intersection of Art and Politics (Edie Pistolesi); (7) Paula Nicho Cumez: Crossing Borders (Kryssi Staikidis); (8) Rafael Trelles: Cleaning Up the Stain of Militarism (Nicolas Lampert); (9) Experience, Discover, Interpret, and Communicate: Material Culture Studies and Social Justice in Art Education (Doug Bandy); (10) Educational Crisis: An Artistic Intervention (Dipti Desai and Elizabeth Koch); and (11) Social Media/Social Justice: The (Creative) Commons and K-12 Art Education (Robert W. Sweeny and Hannah Johnston). Part II, Our Cultures: Recognition and Representation, begins with an introduction to section two by John Ploof and contains the following: (12) Kaisa Leka: Confusing the Disability/Ability Divide (Carrie Sandahl); (13) Darrel Morris: Men Don't Sew in Public (Donal O'Donoghue); (14) Nicholas Galanin: Imaginary Indian and the Indigenous Gaze (Anne-Marie Tupuola); (15) Kimsooja: The Performance of Universality (Dalida Maria Benfield); (16) Xu Bing: Words of Art (Buzz Spector); (17) Bernard Williams: Art as Reinterpretation, Identity as Art (James Haywood Rolling, Jr.); (18) Hock E Aye Vi Edgar Heap of Birds: Beyond the Chief (Elizabeth Delacruz); (19) Samuel Fosso: Queering Performances of Realness (G. E. Washington); (20) Cultural Conversations in Spiral Curriculum (Olivia Gude); (21) Arts Making as an Act of Theory (Miia Collanus and Tiina Heinonen); and (22) Pedagogy, Collaboration, and Transformation: A Conversation with Brett Cook (Korina Jocson and Brett Cook). Part III, Toward Futures: Social and Personal Transformation, begins with an introduction to section three by Lisa Hochtritt and contains the following: (23) Harrell Fletcher: Shaping a New Social (Juan Carlos Castro); (24) Pinky & Bunny: Critical Pedagogy 2.0 (Steven Ciampaglia); (25) La Pocha Nostra: Practicing Mere Life (Jorge Lucero); (26) Future Farmers: Leaping Over the Impossible Present (A. Laurie Palmer); (27) Appalshop: Learning from Rural Youth Media (Maritza Bautista); (28) Navjot Altaf: What Public, Whose Art? (Manisha Sharma); (29) The Chiapas Photography Project: You Can't Unsee It (Lisa Yun Lee); (30) Dilomprizulike: Art as Political Agency (Raimundo Martins); (31) In Search of Clean Water and Critical Environmental Justice: Collaborative Artistic Responses Through the Possibilities of Sustainability and Appropriate Technologies (B. Stephen Carpenter, II and Marissa Munoz); (32) Opening Spaces for Subjectivity in an Urban Middle-School Art Classroom: A Dialogue between Theory and Practice (Carol Culp and Ruben Gaztambide-Fernandez); and (33) Story Drawings: Revisiting Personal Struggles, Empathizing with "Others" (Sharif Bey). Part IV, Voices of Teachers, begins with an introduction section four, Art Matters, by Graeme Sullivan and contains the following: (34) Holding the Camera (Maura Nugent); (35) The Streets Are Our Canvas: Skateboarding, Hip-Hop, and School (Keith (K-Dub) Williams); (36) The Zine Teacher's Dilemma (Jesse Senechal); (37) Miracle on 79th Street: Using Community as Curriculum (Delaney Gersten Susie); (38) Public School, Public Failure, Public Art? (Bert Stabler); (39) Animating The Bill of Rights (William Estrada); (40) Think Twice, Make Once (Anne Thulson); (41) Art History and Social Justice in the Middle School Classroom (Kimberly Lane); and (42) Whatever Comes Next will be Made and Named by Us (Vanessa Lopez-Sparaco). An index is included.
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