American Society for Transplantation and Cellular Therapy series: #5-Management of Clostridioides difficile infection in hematopoietic cell transplant recipients

The Practice Guidelines Committee of the American Society for Transplantation and Cellular Therapy partnered with its Transplant Infectious Disease Special Interest Group to update its 2009 compendium-style infectious disease guidelines for hematopoietic cell transplantation (HCT). A completely new approach was taken with the goal of better serving clinical providers by publishing each standalone topic in the infectious disease series as a concise format of frequently asked questions (FAQ), tables, and figures. Adult and pediatric infectious disease and HCT content experts developed and then answered FAQs and finalized topics with harmonized recommendations that were made by assigning an A through E strength of recommendation paired with a level of supporting evidence graded I through III. This fifth guideline in the series focuses on Clostridioides difficile infection with FAQs that address the prevalence, incidence, clinical features, colonization versus infection, clinical complications, diagnostic considerations, pharmacological therapies for episodic or recurrent infection, and the roles of prophylactic antibiotics, probiotics, and fecal microbiota transplantation

Writing About Comics and Copyright

Academics who research and write about the visual world often complain about the way in which copyright law can hinder their scholarly endeavours, and with good reason. Writing about visual work without reproducing that work is an impoverished exercise, for both writer and reader. But, reproducing visual material can trigger concerns on the part of the conscientious author or – more often – demands on the part of the publisher about the need to secure copyright permission. In this respect, comics scholarship is no different from any other field of visual or cultural studies. Clearing rights for publication can be frustrating and time-consuming, and academic publishers often manage the business of copyright clearance by making their authors responsible for securing permissions. European Comic Art provides a good example. When an article is accepted for publication, authors are ‘required to submit copyright agreements and all necessary permission letters for reprinting or modifying copyrighted materials, both textual and graphic’, and are ‘responsible for obtaining all permissions and clearing any associated fees.’ Not all publishers, however, adhere to such a black and white position. The Journal of Graphic Novels and Comics is published by Taylor & Francis. In the ‘Authors Services’ section of their website, the publisher acknowledges that reproducing short extracts of text and other types of material ‘for the purposes of criticism may be possible without formal permission’. To better understand when permission is needed, the publisher directs its authors to the Publishers Association’s Permissions Guidelines. To better understand what rights need to be cleared, authors are directed to the publisher’s own FAQs about using third-party material in an academic article. Thirteen of the publisher’s FAQs expressly relate to the reproduction of visual material, and of those only two concede the possibility of reproducing work without permission (they relate to, respectively, the use of ‘screenshots or grabs of film or video’ and the use of ‘very old paintings’). What is not clear from the FAQs document is whether the publisher is purporting to accurately represent the law in this area. If so – as we shall see – the FAQs document is clearly deficient. If, however, Taylor & Francis is simply using the FAQs document to set out the parameters of its own editorial policy on the reproduction of copyright-protected third-party material, then so be it: the publisher is perfectly entitled to adopt such editorial guidelines as it sees fit. I would suggest, though, that in cleaving to an editorial policy that fails to take full advantage of the scope which the copyright regime allows for the lawful reproduction of copyright-protected material without need for permission, the publisher is missing an opportunity to enable and encourage its contributors to augment and enrich comics scholarship as a discipline. It is in this respect that The Comics Grid is more ambitious and forward-thinking: it actively promotes the lawful use of copyright-protected content for the purposes of academic scholarship. The journal’s copyright policy sets out that third-party images are reproduced on the basis of ‘educational fair use’, with readers and contributors directed to Columbia University Libraries’ Fair Use Checklist for further information. This is a checklist that has been developed to help academics and other scholars make a reasonable and balanced determination about whether their use of copyright-protected work is permissible under s.107 of the US Copyright Act 1976: the fair use provision. Obviously, The Comics Grid locates its copyright advice within the context of US copyright law. But, as a Glasgow-based academic, with an interest in both the history and the current state of the UK copyright regime, my particular focus within this comic concerns the extent to which academics – or indeed anyone interested in writing about comics – can rely upon UK copyright law to reproduce extracts and excerpts from published comics and graphic novels without having to ask the copyright owner for permission. To address that issue we must consider three key questions. What constitutes ‘a work’ protected by copyright within the context of comics publishing? What does it mean to speak of ‘insubstantial copying’ from a copyright-protected comic? And what can be copied lawfully from a comic for the purpose of criticism and review

Notes regarding a pedagogical model for the distance learning of tradumática

The article presents a proposed plan of a pedagogical model for the distance learning of tradumática, based on an educational process that revolves around classes recorded in digital format and synchronous and asynchronous activities overseen by an educational supervisor

The Temporary Assistance for Needy Families (TANF) Block Grant: Responses to Frequently Asked Questions

The Temporary Assistance for Needy Families (TANF) block grant funds a wide range of benefits and services for low-income families with children. TANF was created in the 1996 welfare reform law (P.L. 104-193). This report responds to some frequently asked questions about TANF

The Temporary Assistance for Needy Families (TANF) Block Grant: Responses to Frequently Asked Questions

This report provides responses to frequently asked questions about the Temporary Assistance for Needy Families (TANF) block grant. It is intended to serve as a quick reference to provide easy access to information and data. This report does not provide information on TANF program rules

2009-10 statistics derived from ILR data for the monitoring and allocation of funding in FECs

"This document describes: how we used 2009-10 Data Service learner data to inform 2011-12 funding allocations how we used 2009-10 learner data to monitor returns made to HEFCE the responses required from colleges to these monitoring processes." - Page 2

Teaching practical science online using GIS: a cautionary tale of coping strategies

Strong demand for GIS and burgeoning cohorts have encouraged the delivery of GIS teaching via online distance education models. This contribution reviews a brief foray (2012–2014) into this field by the Open University, deploying open source GIS software to enable students to perform practical science investigations online. The “Remote observation” topic spanned four science disciplines in 6 weeks – an ambitious remit within an innovative overarching module. Documenting the challenges and strategies involved, this paper uses forum usage and student feedback data to derive insights into the student experience and the pitfalls and pleasures of teaching GIS at a distance

The Internet Opens Its Doors for .BIZ-ness

Starting on October 1, 2001, .BIZ will become active as the Internet\u27s newest top-level domain; its space reserved solely for businesses engaging in bona fide commercial activities. This space has the potential to reinvigorate, at least partly, the immense economic potential of the Internet by stimulating a multitude of e-commerce transactions so common only a few years ago. This iBreif explores the history of how and why this new top-level domain came into being. Following this history lies a discussion of the current .BIZ registration process as well as an analysis of the corresponding Intellectual Property Claims system