サイキン カンセンショウ カンジャ ニオケル スタチン ノ タメンテキ コウカ

Statins, treatments for dyslipidemia, have been reported to possess effects leading to the repair of the vascular endothelium, as well as anti-oxidative and anti-inflammatory effects, and their clinical usefulness has been focused on. It was also reported in previous clinical research that bacteremia patients on statins showed a lower mortality compared to those not receiving statins, and atherosclerosis patients on statins showed a significantly lower rate of severe or fatal sepsis compared to those not receiving them. We conducted a case-control study involving patients hospitalized in Tokushima University Hospital to evaluate the relationship between taking／not taking statins and bacterial infectious diseases. As a result, there was no relationship between taking／not taking statins and the overall patients with bacterial infectious diseases, but sepsis patients on statins showed a significantly lower mortality. The taking of statins was suggested to be useful for patients with bacterial infectious diseases, particularly males

Tatami and wood: ink rubbings and the discussion of materiality in postwar Japanese calligraphy and art

This paper discusses the relationship between postwar Japanese avant-garde calligraphy and the abstract art of the 1950s, showing how calligraphy contributed to the international postwar discussion of materiality. Postwar Japanese art – as exemplified by the art collectives Gutai and Mono-ha – is widely recognized for its close attention to materiality. This study will introduce Japanese avant-garde calligraphy into the discussion of materiality, examining the relationship between the avant-garde calligraphers’ use of traditional takuhon ink rubbings and the technically identical surrealist technique of frottage, invented in 1924 by Max Ernst as a way to implement ideas of automatism in art and to release the ‘material’ from conscious control. The first attempt to examine the encounter between Japanese calligraphy and surrealism, this study argues that when Japanese avant-garde calligraphers such as Inoue Yūichi (1916–85) and abstract painters such as Hasegawa Saburō (1906–57) began incorporating traditional takuhon ink rubbings into their active art practice in the 1950s, they introduced a new dimension of spirituality into the international discourse on materiality