Introduction: Bone marrow signal abnormalities on magnetic resonance imaging (MRI) are common in athletes. However, few studies evaluate the MRI appearance of bone marrow in the feet of ballet ...dancers. Our study aims to describe the “spotty bone marrow” (SBM) pattern in the tarsal bones of a cohort of ballet dancers, establishing its prevalence, distribution, potential associations, and evolution. Methods: Eighty-six MRIs of 68 ankles in 56 ballet dancers were retrospectively reviewed for marrow signal alterations, which were classified as focal or SBM (defined as patchy fluid-sensitive signal hyperintensity spanning more than one location or tarsal bone). When SBM involved the talus, its anatomic distribution in the bone and morphologic pattern were recorded. Additional osseous and soft tissue findings were documented. For subjects with more than one MRI of the same ankle, the SBM’s evolution was monitored.Results: Spotty bone marrow was identified in 44 ankles (65%). Spotty bone marrow was isolated to the talus (44%), present in all tarsal bones (25%), or distributed between the talus and one to three other tarsal bones (31%). In the talus, The SBM involved the entire bone (65%), the neck and body (31%), or the head and neck (4%). The SBM most commonly showed a random morphologic pattern (87%) but occasionally showed a peripheral predominance (13%). There was no statistically significant difference in the prevalence of other pathologies in ankles with and without SBM. In eight ankles with a follow-up MRI, the SBM worsened in one, remained stable in two, and improved in five ankles. None progressed to a stress fracture. Conclusion: Spotty bone marrow is an MRI finding frequently encountered in ballet dancers. It is usually self-limiting and should not be misinterpreted as a more aggressive pathology.
This article explores the experiences of two women choreographers working with modernist dance forms in Ireland during the early twentieth century. Through an analysis of reviews, photos, and ...archival film, I demonstrate how these women navigated the moral panic surrounding modernist dance forms in early-to-mid twentieth century Ireland. I argue that the obstacles these women negotiated were directly related to societal norms and legislation centered on kinesthetic control of women's bodies and sexuality. These norms resulted in associations of modern styles of dancing with improper sexuality - meaning any sexuality outside the confines of heteronormative married relationships - and suspicion of any dancing that was seen to undermine the ideals of Irish womanhood as a uniquely chaste identity.
Denne artikel behandler Leonora Christina Ulfeldts interesse for satiren og grotesken, og der argumenteres for, at hovedværket i hendes forfatterskab, Jammers Minde (som blev påbegyndt i 1674 og ...færdigskrevet i 1690’erne), kan placeres i en grotesk litterær tradition. Teksten blev skrevet forud for moderne teorier om det groteske, men den viser, at formprincipper, der knytter sig til groteskkunsten, i 1600-tallet fandt en plads i en række forskellige genrer, heriblandt selvbiografien. Artiklen behandler endvidere den anonymt forfattede satire Fru Kirsten Munks Ballet (ca. 1650), som viser, at groteskkunsten blev anvendt i kritiske skrifter, der rettede sig imod Leonora Christina Ulfeldts familie. Artiklen demonstrerer, at Leonora Christina Ulfeldt var bredt orienteret i sin samtids litteratur, og at hendes forfatterskab inkluderer elementer, der var forbundet til tidens uofficielle skrifter.
