Latitude, Birth Date, and Allergy

BACKGROUND: The space and time distribution of risk factors for allergic diseases may provide insights into disease mechanisms. Allergy is believed to vary by month of birth, but multinational studies taking into account latitude have not been conducted. METHODS AND FINDINGS: A questionnaire was distributed in 54 centres to a representative sample of 20- to 44-y-old men and women mainly in Europe but also including regions in North Africa, India, North America, Australia, and New Zealand. Data from 200,682 participants were analyzed. The median prevalence of allergic rhinitis was 22%, with a substantial variation across centres. Overall, allergic rhinitis decreased with geographical latitude, but there were many exceptions. No increase in prevalence during certain winters could be observed. Also, no altered risk by birth month was found, except borderline reduced risks in September and October. Effect estimates obtained by a multivariate analysis of total and specific IgE values in 18,085 individuals also excluded major birth month effects and confirmed the independent effect of language grouping. CONCLUSION: Neither time point of first exposure to certain allergens nor early infections during winter months seems to be a major factor for adult allergy. Although there might be effects of climate or environmental UV exposure by latitude, influences within language groups seem to be more important, reflecting so far unknown genetic or cultural risk factors

Máscaras acústicas e dimensões sonoras do Teatro grego antigo

It is impossible to imagine the ancient Greek theatre without the mask, whether it is tragedy, comedy or satyr plays. All theatrical forms that developed in Athens during the 6th and 5th centuries BC were forms of masked drama. The mask was an organic element in this new form called theatre because the mask is the medium per excellence for the embodiment of the Other and participates in the creation of the stage as a site of the dialogue between the Self andthe Other. But the mask was an organic element of the theatre because in ancient Greek theatre the mask is organically connected through its facial appearance to the ecstatic cries found in the dramatic texts and to the theatre space through its acoustical form. Acoustics permeated all aspects of the ancient Greek theatre and was a way to create even better participation for the audience enhancing its acoustico-visual and synaesthetic experience.É impossível imaginar o antigo teatro grego sem o recurso da máscara, seja na tragédia, comédia ou dramas satíricos. Todas as formas teatrais desenvolvidas em Atenas durante os séculos VI e V a.C foram formas de drama com máscaras. A máscara foi um elemento orgânico nessa forma nova chamada 'teatro' pois era o meio por excelência paramaterialização do Outro, e participava na criação do espaçode cena como lugar de diálogo entre o Eu e o Outro. Ainda,a organicidade da máscara se revelava em sua conexão estreita entre a aparência da rosto e gritos lancinantes encontrados nos textos dramáticos e que ecoram na acústica dos teatro. A questão acústica estava presente em todos os aspectos do antigo teatro grego, e foi um modo de se intensi?car a participação da audiência por meio da ampliação de sua experiência acústico-visual e sinestésica

Acoustical Masks and sound aspects of Ancient Greek Theatre

It is impossible to imagine the ancient Greek theatre without the mask, whether it is tragedy, comedy or satyr plays. All theatrical forms that developed in Athens during the 6th and 5th centuries BC were forms of masked drama. The mask was an organic element in this new form called theatre because the mask is the medium per excellence for the embodiment of the Other and participates in the creation of the stage as a site of the dialogue between the Self andthe Other. But the mask was an organic element of the theatre because in ancient Greek theatre the mask is organically connected through its facial appearance to the ecstatic cries found in the dramatic texts and to the theatre space through its acoustical form. Acoustics permeated all aspects of the ancient Greek theatre and was a way to create even better participation for the audience enhancing its acoustico-visual and synaesthetic experience