MYELOID MICROVESICLES ARE A MARKER AND THERAPEUTIC TARGET FOR NEUROINFLAMMATION

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«Figure» e «October»: confronti sulla critica d’arte negli anni ’80

Sebbene non ci siano stati contatti diretti tra le due redazioni, un progetto comune lega, almeno idealmente, la rivista «Figure. Teoria e Critica dell’arte» fondata da Filiberto Menna nel 1982 e la rivista «October» fondata nel 1976 da Rosalind Krauss e Annette Michelson. Attraverso la ricognizione dei discorsi che hanno caratterizzato negli anni Ottanta la prospettiva critica offerta dai due differenti progetti editoriali il saggio misura le direzioni e i comuni modelli. Le riviste, tanto lontane e tanto vicine, sono accomunate da una spontanea condivisione di problemi, indagini metodologiche e riferimenti che permettono di situare entrambe al centro del dibattito sull'arte postmoderna

Prediction of significant renal function decline after open, laparoscopic, and robotic partial nephrectomy: External validation of the Martini’s nomogram on the RECORD2 project cohort

Objectives: Martini et al. developed a nomogram to predict significant (>25%) renal function loss after robot-assisted partial nephrectomy and identified four risk categories. We aimed to externally validate Martini’s nomogram on a large, national, multi-institutional data set including open, laparoscopic, and robot-assisted partial nephrectomy. Methods: Data of 2584 patients treated with partial nephrectomy for renal masses at 26 urological Italian centers (RECORD2 project) were collected. Renal function was assessed at baseline, on third postoperative day, and then at 6, 12, 24, and 48 months postoperatively. Multivariable models accounting for variables included in the Martini’s nomogram were applied to each approach predicting renal function loss at all the specific timeframes. Results: Multivariable models showed high area under the curve for robot-assisted partial nephrectomy at 6- and 12-month (87.3% and 83.6%) and for laparoscopic partial nephrectomy (83.2% and 75.4%), whereas area under the curves were lower in open partial nephrectomy (78.4% and 75.2%). The predictive ability of the model decreased in all the surgical approaches at 48 months from surgery. Each Martini risk group showed an increasing percentage of patients developing a significant renal function reduction in the open, laparoscopic and robot-assisted partial nephrectomy group, as well as an increased probability to develop a significant estimated glomerular filtration rate reduction in the considered time cutoffs, although the predictive ability of the classes was <70% at 48 months of follow-up. Conclusions: Martini's nomogram is a valid tool for predicting the decline in renal function at 6 and 12 months after robot-assisted partial nephrectomy and laparoscopic partial nephrectomy, whereas it showed a lower performance at longer follow-up and in patients treated with open approach at all these time cutoffs

Hellish Falls: Faustus’s Dismemberment, Phaeton’s Limbs and Other Renaissance Aviation Disasters – Part I

With its aerial voyages and ominous allusions to the failed aviators Icarus, Lucifer and Simon Magus, Doctor Faustus presents an uncanny commentary on the Renaissance dream of flight. This article uncovers Marlowe’s infatuation with human flight as the ultimate act of physical, intellectual and spiritual trangression. So the grisly addition to the B-text, in which a group of scholars examine—like a forensics team at a crash site—the carnage of Faustus’s “mangled limbs”, is more than a lurid flourish. Mangled limbs are splattered all over the annals of pre-modern aviation. While implicating the play in Renaissance aeronautics, this study of Faustus also has some eye-opening implications for theatre history. Faustus was penned at a time when on-stage ascents and descents became increasingly feasible, and Marlowe’s Icarian muse may have spurred the Admiral’s Men to interpolate more spectacular flying effects, taking advantage of the throne, pulleys and dragons recorded in Henslowe’s Diary. The revisions to Faustus not only showcase the flight-simulation capabilities of the Admiral’s playhouses but also associate Marlowe’s conjuror with other presumptuous aeronauts in the company’s repertoire. In particular, Part II of this essay (to be published in a forthcoming issue of English Studies) will argue that Faustus’s “hellish fall” and dismemberment mirrors that of Phaeton, the titular protagonist of a lost play performed by the Admiral’s Men in 1598. While reading the fall of these characters as a literal enactment of de casibus tragedy, Part II concludes that the increasingly sophisticated aerial stunts reflect a technological optimism about transhuman flight that undercuts the Chorus’s warning not to “practice more than heavenly power permits”