Factor analysis of the North American Spine Society outcome assessment instrument: a study based on a spine registry of patients treated with lumbar and cervical disc arthroplasty.

BACKGROUND CONTEXT: Studies involving factor analysis (FA) of the items in the North American Spine Society (NASS) outcome assessment instrument have revealed inconsistent factor structures for the individual items. PURPOSE: This study examined whether the factor structure of the NASS varied in relation to the severity of the back/neck problem and differed from that originally recommended by the developers of the questionnaire, by analyzing data before and after surgery in a large series of patients undergoing lumbar or cervical disc arthroplasty. STUDY DESIGN/SETTING: Prospective multicenter observational case series. PATIENT SAMPLE: Three hundred ninety-one patients with low back pain and 553 patients with neck pain completed questionnaires preoperatively and again at 3 to 6 and 12 months follow-ups (FUs), in connection with the SWISSspine disc arthroplasty registry. OUTCOME MEASURES: North American Spine Society outcome assessment instrument. METHODS: First, an exploratory FA without a priori assumptions and subsequently a confirmatory FA were performed on the 17 items of the NASS-lumbar and 19 items of the NASS-cervical collected at each assessment time point. The item-loading invariance was tested in the German version of the questionnaire for baseline and FU. RESULTS: Both NASS-lumbar and NASS-cervical factor structures differed between baseline and postoperative data sets. The confirmatory analysis and item-loading invariance showed better fit for a three-factor (3F) structure for NASS-lumbar, containing items on "disability," "back pain," and "radiating pain, numbness, and weakness (leg/foot)" and for a 5F structure for NASS-cervical including disability, "neck pain," "radiating pain and numbness (arm/hand)," "weakness (arm/hand)," and "motor deficit (legs)." CONCLUSIONS: The best-fitting factor structure at both baseline and FU was selected for both the lumbar- and cervical-NASS questionnaires. It differed from that proposed by the originators of the NASS instruments. Although the NASS questionnaire represents a valid outcome measure for degenerative spine diseases, it is able to distinguish among all major symptom domains (factors) in patients undergoing lumbar and cervical disc arthroplasty; overall, the item structure could be improved. Any potential revision of the NASS should consider its factorial structure; factorial invariance over time should be aimed for, to allow for more precise interpretations of treatment success.

Forme e funzioni del coro tragico in Italia (1524-1824)

Ce travail n'a pas pour but d'établir une histoire du choeur tragique pour ainsi dire 'd'anthologie', mais bien plutôt de tracer un parcours sélectif et dynamique, en suivant l'évolution de ses formes et de ses fonctions dans la tragédie italienne, à partir du début du XVIe siècle jusqu' à la production alfiérienne et au retour du choeur dans le théâtre de Manzoni ; à cela s'ajoute un exercice en dehors du genre dramatique tel que le Dialogo di Federico Ruysch e delle sue mummie dans les Operette morali di Giacomo Leopardi. Dans la première partie - la plus ample et complexe, portant sur l'emploi du choeur dans la tragédie de la Renaissance - on essaye de cerner le contexte qui favorise la persistance d'un espace choral en examinant plusieurs commentaires de la Poétique aristotélicienne, et des essais de théorie dramaturgique comme Della poesia rappresentativa de Angelo Ingegneri, ou le Discorso intorno al comporre de Giambattista Giraldi Cinzio. À côté de la discussion sur le rôle du choeur on envisage aussi le profil formel des sections chorales, en s'appuyant sur l'analyse métrique, dans le cadre plus général du 'petrarchismo metrico', et en particulier de la réception de la chanson pétrarquesque. Interroger la présence de trois constantes thématiques - par exemple la forme de l'hymne à Éros - signifie en suite relever l'importance de Sophocle pour le théâtre de la Renaissance dans la perspective du choeur. Cette première section est complétée par un chapitre entièrement consacré à Torquato Tasso et à son Re Torrismondo, qui présente un troisième chant choral de grande épaisseur philosophique, central dans l'économie du drame et analysé ici à travers un exercice de lecture qui utilise à la fois les instruments de la stylistique, de l'intertextualité, et de l'intratextualité concernant l'entier corpus poétique et philosophique tassien, de ses Rime aux Dialoghi. La deuxième section, qui commence par une exploration théorique de la question du choeur, conduite par exemple sur les textes de Paolo Beni e Tommaso Campanella, a pour cible principale de expliquer comment le choeur assume le rôle d'un vrai 'personnage collectif' dans le théâtre de Federico Della Valle : un choeur bien installé dans l'action tragique, mais conservant au même temps les qualités lyriques et philosophiques d'un chant riche de mémoire culturelle et intertextuelle, de la Phaedra de Sénèque à la Commedia dantesque dans la Reina di Scozia, centre principal de l'analyse et coeur du catholicisme contreréformiste dellavallien. Dans la troisième partie le discours se concentre sur les formes de la métamorphose, pour ainsi dire, du choeur : par exemple la figure du confident, conçu comme un substitut du groupe choral dans les discussions des théoriciens et des auteurs français - voir Corneille, D'Aubignac, Dacier - et italiens, de Riccoboni à Calepio et Maffei. Cependant dans cette section il est surtout question de la définition de l'aria mélodramatique compris comme le 'nouveau choeur' des Modernes, formulée par Ranieri Calzabigi et par Metastasio. Il s'agit donc ici de mettre en relation l'élaboration théorique contenue dans la Dissertazione de Calzabigi et dans l'Estratto de l'Arte poetica de Metastasio avec le premier et unique essai tragique de jeunesse de ce dernier, le Giustino, et le livret de son Artaserse. On essaye de montrer le profond lien entre l'aria et l'action dramatique : donc c'est le dramma musicale qui est capable d'accueillir la seule forme de choeur - l'aria - encore possible dans le théâtre moderne, tandis que le choeur proprement tragique est désormais considéré inutilisable et pour ainsi dire hors-contexte (sans toutefois oublier qu'à la fin du siècle Vittorio Alfieri essayait de ne pas renoncer au choeur dans sa traduction des Perses d'Eschyle ; et surtout dans un essai tragique comme l'Alceste seconda ou dans sa tramelogedia, l'Abele). Comme conclusion une section contenant des remarques qui voudrait juste indiquer trois possibles directions de recherche ultérieure : une comparaison entre Manzoni et Leopardi - dans la perspective de leur intérêt pour le choeur et de la différence entre le sujet lyrique manzonien et celui léopardien ; une incursion dans le livret du mélodrame verdien, afin de comprendre la fonction du choeur manzonien et sa persistance dans le texte pour l'opéra ; et enfin quelque note sur la réception du choeur manzonien et du Coro di morti léopardien dans le XXe siècle, en assumant comme point d'observation la poésie de Carlo Michelstaedter, Andrea Zanzotto et Franco Fortini. Il lavoro non intende tracciare una storia 'da manuale' del coro tragico, ma piuttosto indicare un percorso selettivo e dinamico, seguendo l'evoluzione delle sue forme e delle sue funzioni nella tragedia italiana, a partire dall'inizio del sedicesimo secolo per arrivare alla produzione alfieriana e al ritorno del coro nel teatro di Manzoni; a ciò si aggiunge una prova estranea al genere drammatico come il Dialogo di Federico Ruysch e delle sue mummie nelle Operette morali di Giacomo Leopardi. Nella prima parte - la più ampia e complessa, riguardante l'impiego del coro nella tragedia rinascimentale - si cerca di ricostruire il contesto che favorisce la persistenza dello spazio corale attraverso l'esame di diversi commenti alla Poetica aristotelica, e di alcuni saggi di teoria drammaturgica come Della poesia rappresentativa di Angelo Ingegneri, o il Discorso intorno al comporre di Giambattista Giraldi Cinzio. La discussione sul ruolo del coro è affiancata dall'esame del profilo formale delle sezioni corali, grazie a un'indagine metrica nel quadro del più ampio petrarchismo metrico cinquecentesco, e in particolare nel quadro della ricezione della formacanzone petrarchesca. Interrogare la presenza di tre costanti tematiche - per esempio la forma dell'inno a Eros - significherà in seguito rilevare l'importanza di Sofocle per il teatro rinascimentale anche nella prospettiva angolata del coro. Questa prima sezione è completata da un capitolo interamente dedicato a Torquato Tasso e al suo Re Torrismondo, che presenta un terzo canto corale di grande spessore stilistico e filosofico, centrale nell'economia del dramma e analizzato qui attraverso un esercizio di lettura che si serve degli strumenti della stilistica e dell'intertestualità, oltre che del rapporto intratestuale fra i vari luoghi del corpus tassiano, dalle Rime ai suoi Dialoghi. La seconda sezione, che si avvia con un'esplorazione teorica della questione del coro nel Seicento - condotta per esempio sui testi di Paolo Beni e Tommaso Campanella - ha per fulcro la descrizione di un coro quale 'personaggio collettivo' nelle tragedie di Federico Della Valle: un coro ben inserito nell'azione tragica, ma che conserva allo stesso tempo le qualità liriche e filosofiche di un canto ricco di memoria culturale e intertestuale, dalla Fedra di Seneca alla Commedia dantesca, nella sua Reina di Scozia, centro dell'analisi e cardine del cattolicesimo controriformista dellavalliano. Nella terza sezione il discorso si concentra sulle forme della metamorfosi, per così dire, del coro: per esempio la figura del confidente, interpretato come un sostituto del gruppo corale nelle discussioni di teorici e autori francesi - Corneille, D'Aubignac, Dacier - e italiani, da Riccoboni a Calepio e Maffei. Ma qui ci si rivolge anzitutto alla definizione dell'aria melodrammatica, sentita quale 'nuovo coro' dei Moderni da Ranieri Calzabigi e Pietro Metastasio. Si tratterà dunque di mettere in relazione l'elaborazione teorica svolta nella Dissertazione di Calzabigi e nell'Estratto dell'arte poetica di Metastasio con il primo e unico - e giovanile - tentativo tragico di quest'ultimo, il Giustino, e con il libretto del suo Artaserse. L'intenzione è quella di mostrare il profondo legame tra l'aria e l'azione drammatica: è perciò il dramma musicale che è capace di accogliere la sola forma di coro - l'aria - ancora possibile nel teatro moderno, mentre il vero e proprio coro tragico si rassegna ormai a essere considerato inutile e per così dire fuori contesto (senza dimenticare, tuttavia, che al chiudersi del secolo Vittorio Alfieri tentava di non rinunciare al coro nella sua traduzione dei Persiani di Eschilo; e soprattutto in un tentativo tragico come la sua Alceste seconda o nella tramelogedia Abele). In conclusione una più veloce sezione che vorrebbe semplicemente indicare qualche altra possibile direzione di ricerca: un confronto fra Manzoni e Leopardi - nella prospettiva del coro interesse per il coro, e della differenza fra il soggetto lirico manzoniano e quello leopardiano; un'incursione nel libretto del melodramma verdiano, per misurarvi la funzione del coro manzoniano e la sua persistenza nel testo operistico; e infine qualche appunto sulla ricezione del coro manzoniano e del Coro di morti di Leopardi nel Novecento, assumendo quale punto d'osservazione la poesia di Carlo Michelstaedter, Andrea Zanzotto e Franco Fortini.

Health correlates of overweight and obesity in adults aged 50 years and over: results from the Survey of Health, Ageing and Retirement in Europe (SHARE)

QUESTIONS UNDER STUDY: To examine the association between overweight/obesity and several self-reported chronic diseases, symptoms and disability measures. METHODS: Data from eleven European countries participating in the Survey of Health, Ageing and Retirement in Europe were used. 18,584 non-institutionalised individuals aged 50 years and over with BMI > or = 18.5 (kg/m2) were included. BMI was categorized into normal weight (BMI 18.5-24.9), overweight (BMI 25.0-29.9) and obesity (BMI > or = 30). Dependent variables were 13 diagnosed chronic conditions, 11 health complaints, subjective health and physical disability measures. For both genders, multiple logistic regressions were performed adjusting for age, socioeconomic status and behaviour risks. RESULTS: The odds ratios for high blood pressure, high cholesterol, diabetes, arthritis, joint pain and swollen legs were significantly increased for overweight and obese adults. Compared to normal-weight individuals, the odds ratio (OR) for reporting > or = 2 chronic diseases was 2.4 (95% CI 1.9-2.9) for obese men and 2.7 (95% CI 2.2-3.1) for obese women. Overweight and obese women were more likely to report health symptoms. Obesity in men (OR 0.5, 95% CI 0.4-0.6), and overweight (OR 0.5, 95% CI 0.4-0.6) and obesity (OR 0.4, 95% CI 0.3-0.5) in women, were associated with poorer subjective health (i.e. a decreased risk of reporting excellent, very good or good subjective health). Disability outcomes were those showing the greatest differences in strength of association across BMI categories, and between genders. For example, the OR for any difficulty in walking 100 metres was non-significant at 0.8 for overweight men, at 1.9 (95% CI 1.3-2.7) for obese men, at 1.4 (95% CI 1.1-1.8) for overweight women, and at 3.5 (95% CI 2.6-4.7) for obese women. CONCLUSIONS: These results highlight the impact of increased BMI on morbidity and disability. Healthcare stakeholders of the participating countries should be aware of the substantial burden that obesity places on the general health and autonomy of adults aged over 50.

HypnoLaus: le sommeil sous la loupe [HypnoLaus sleep cohort study].

Normal sleep patterns and prevalence of sleep disorders in the general population are largely unknown. The aim of HypnoLaus cohort study is to record sleep and analyze sleep characteristics in a large population-based sample, which had undergone comprehensive genetic, somatic, and psychiatric investigations. Full polysomnography has already been performed in more than 1100 middle aged men and women randomly selected from Lausanne general population (goal 2000-3000 sleep recordings). Over 4000 additional subjects from the same population have filled various questionnaires on their sleep habits and complaints. These results combined with genetic, cardiovascular, metabolic, and psychiatric data provide a unique opportunity to determine the interaction between sleep, its genetic determinants and cardiovascular, psychiatric, or metabolic diseases.

Staff extremity doses in interventional radiology. Results of the ORAMED measurement campaign

The introduction of interventional radiology (IR) procedures in the 20th century has demonstrated significant advantages over surgery procedures. As a result, their number is continuously rising in diagnostic, as well as, in therapy field and is connected with progress in highly sophisticated equipment used for these purposes. Nowadays, in the European countries more than 400 fluoroscopically guided IR procedures were identified with a 10-12% increase in the number of IR examinations every year (UNSCEAR, 2010). Depending on the complexity of the different types of the interventions large differences in the radiation doses of the staff are observed.The staff that carries out IR procedures is likely to receive relatively high radiation doses, because IR procedures require the operator to remain close to the patient and close to the primary radiation beam. In spite of the fact that the operator is shielded by protective apron, the hands, eyes and legs remain practically unshielded. For this reason, one of the aims of the ORAMED project was to provide a set of standardized data on extremity doses for the personnel that are involved in IR procedures and to optimize their protection by evaluating the various factors that affect the doses. In the framework of work package 1 of the ORAMED project the impact of protective equipment, tube configuration and access routes were analyzed for the selected IR procedures. The position of maximum dose measured is also investigated. The results of the extremity doses in IR workplaces are presented in this study together with the influence of the above mentioned parameters on the doses.

Chronic rejection of allogenic dermal grafts in 73 % TBSA burn patient

Rationale: Allogenic grafts are an excellent way to temporarily cover a wound. It prevents the loss of electrolytes and water, reduces the risk of infection and diminishes pain. Another advantage of the allograft is in circumventing problems such as the morbidity of skin graft donor sites. We present here the case of a patient grafted in 1991 with cultured epidermal autografts (CEA) and allogenic skin transplants on his legs, outlining the risks and potential long-term complications. Methods: The 40-year-old male patient was treated with allogenic Split Thickness Skin Graft (STSG) transplantations, CEA and Cyclosporine-A therapy. Allogenic STSG for lower extremities were harvested from a female HIV-negative organ donor. They were transplanted, de-epithelialized and subsequently covered with CEAs. Cyclosporine-A was administered systemically from the first day following transplantation until three weeks after the last CEAs were placed on the allogenic dermis. Results: Immediate results showed a 90% successful grafting under cyclosporine therapy. However, some lesions were still present 16 months later. The skin was hard with little or no elasticity. Five years after the transplantation there were no more lesions. However, a 10-year follow-up showed new ulcers on both lower extremities. All the skin of the right leg was removed and replaced by STSG from the patient's back. Postoperative results were excellent with a 100% graft take. The anatomopathology showed dermo-hypodermic tissue with fibrosis of the dermis, vasculopathy and chronic ulcers compatible with chronic rejection. Conclusion: While early functional results of the allografts may seem encouraging, their long-term evolution remains uncertain and, in this case, presents complications. The apparent antigenic effect of the dermal tissue may be controlled with long-term immunosuppression which may cause important secondary effects. Even with such treatments, 15 years after organ transplantation, about 35% of a transplant is no longer functional. It is therefore important to take these long-term observations into consideration when treating sensitive areas such as hands or a face.

La ligne libre : un paradigme à la croisée de la philosophie et de la littérature de voyage dans la première moitié du XXème siècle : le corps et le paysage chez Victor Segalen, Blaise Cendrars et Henri Michaux

Fondée sur un corpus d'écrivains-voyageurs qui sont symptomatiques des changements importants affectant la question de l'espace dans la première moitié du XXème siècle, cette étude tire profit de la grande polyvalence de la problématique du paysage pour proposer un véritable dialogue interdisciplinaire entre littérature et philosophie. Cette perspective est largement favorisée par les écrivains eux-mêmes qui ont indiscutablement lié leur entreprise poétique à des enjeux épistémiques recoupant les préoccupations des scientifiques, médecins, géographes ou philosophes de leur temps. Un certain nombre d'interrogations nous sont apparues caractéristiques de cette période de l'histoire des voyages. Victor Segalen, Blaise Cendrars et Henri Michaux ont été particulièrement sensibles à cette angoisse d'époque liée à l'amenuisement du monde, c'est-à- dire au raccourcissement des distances entre continents suite aux développements des moyens de transport et la perte des « espaces blancs » de la carte, conséquence directe des entreprises exploratrices du XIXème siècle. A la déréliction qui s'empare du voyageur moderne face à la disparition des zones inconnues s'est ajouté l'effroi provoqué par la seconde loi thermodynamique du biologiste allemand Ernst Haeckel, qui, avec sa théorie de l'entropie, a fait craindre à plusieurs générations que la matière de l'univers tendrait vers une simplification toujours plus grande, et que le globe terrestre, à l'image du cosmos, ressemblerait peu ou prou à un immense magma de glace. Il est remarquable de constater à quel point ces trois auteurs ont développé une sorte d'outillage conceptuel commun propre à diagnostiquer cette crise et à la résoudre en élaborant une nouvelle manière de se rapporter à l'espace et de décrire le paysage. Ce nouveau paradigme qui modélise un autre type de relation à l'extérieur est solidaire de courants de pensée post-rationalistes qui de Nietzsche à Gilles Deleuze, en passant par Bergson et la phénoménologie, ont conduit à un démantèlement de la conception cartésienne de la conscience dans son rapport à l'étendue. Aux croisements de la philosophie et de la littérature se construit durant la première moitié du XXème siècle un nouveau modèle de représentation du paysage qui passe par l'élaboration de la ligne libre. Celle-ci décrit une manière de dire le réel qui ne consiste pas à en reproduire les composantes de façon fidèle, mais à tracer le mouvement énergétique par lequel le corps se rapporte à l'espace de manière dynamique et variée. Proche du terme de diagramme, exploité par Deleuze et relayé par le géographe Jean-Marc Besse, il consiste en un schème du réel qui s'élabore en cours d'expérience et ouvre sur une réalité à venir. De ce point de vue, la ligne libre définit une manière de se rapporter au réel qui remet en question les théories paysagères fondées sur Vartialisation. En prenant appui sur cette proximité d'intérêt entre une certaine philosophie et la littérature de voyage de la première moitié du XXème siècle, cette étude montre que la construction de ce nouveau paradigme permet de mettre en évidence un type de transfert peu conventionnel entre ces deux champs des sciences humaines. Car Segalen, Cendrars et Michaux n'ont pas vraiment repris aux philosophes des concepts, des syllogismes ou même des pensées, mais se sont approprié une figure dont ils ont libéré l'imaginaire sémantique. En lecteurs émerveillés de Nietzsche, ils ont surtout vu dans le voyageur Zarathoustra et dans sa manière de se déplacer dans le paysage, une façon stratégique de répondre à la crise de l'entropie. Mais si Zarathoustra incarne le mouvement de la ligne libre en lui conférant une valeur épistémique, il constitue également une figure imprégnée par la littérature de voyage et le genre de l'aventure. De ce point de vue, il apparaît que le développement de ce paradigme est redevable aussi bien de la philosophie que de la littérature de voyage et qu'une brève histoire de son élaboration révèle qu'une sémantique viatique accompagne la conception philosophique de cette ligne libre auprès des philosophes qui s'en approprient le modèle (Nietzsche, Bergson, Husserl, Heidegger, Merleau-Ponty, Deleuze).

Médée dans l'éther athénien

L'article appréhende la dimension aérienne dans la Médée d'Euripide, à travers une analyse de l'exodos et du troisième stasimon. Dans l'exodos se joue un mouvement ascensionnel dans lequel Médée accède à une sphère divine, sans pour autant se confondre avec une divinité ex machina. Le sens de ce mouvement vertical est interprété à la lumière du troisième stasimon qui dessine l'image paradoxale d'un peuple autochtone marchant dans l'éther immatériel et se nourrissant d'une denrée elle-même immatérielle, le savoir poétique. A travers le mouvement vertical qui clôt la pièce, Médée se met ainsi, littéralement, au niveau du peuple des Athéniens qu'elle s'apprête à rejoindre. L'article propose en outre une mise en parallèle entre l'image idéalisée d'Athènes dans le troisième stasimon de la Médée et l'image de l'ancienne Athènes dans le Timée et le Critias de Platon.

Upper Triassic to Cretaceous radiolaria from Nicaragua and northern Costa Rica - The Mesquito composite oceanic terrane

We propose a new terrane subdivision of Nicaragua and Northern Costa Rica, based on Upper Triassic to Upper Cretaceous radiolarian biochronology of ribbon radiolarites, the newly studied Siuna Serpentinite Mélange, and published 40Ar/39Ar dating and geochemistry of mafic and ultramafic igneous rock units of the area. The new Mesquito Composite Oceanic Terrane (MCOT) comprises the southern half of the Chortis Block, that was assumed to be a continental fragment of N-America. The MCOT is defined by 4 corner localities characterized by ultramafic and mafic oceanic rocks and radiolarites of Late Triassic, Jurassic and Early Cretaceous age: 1. The Siuna Serpentinite Mélange (NE-Nicaragua), 2. The El Castillo Mélange (Nicaragua/Costa Rica border), 3.The Santa Elena Ultramafics (N-Costa Rica) and, 4. DSDP Legs 67/84. 1. The Siuna Serpentinite Mélange contains, high pressure metamorphic mafics and Middle Jurassic (Bajocian-Bathonian) radiolarites in original, sedimentary contact with arc-metandesites. The Siuna Mélange also contains Upper Jurassic black detrital chert formed in a marginal (fore-arc?) basin shortly before subduction. A phengite 40Ar/39Ar -cooling age dates the exhumation of the high pressure rocks as 139 Ma (earliest Cretaceous). 2. The El Castillo Mélange comprises a radiolarite block tectonically embedded in serpentinite that yielded a diverse Rhaetian (latest Triassic) radiolarian assemblage, the oldest fossils recovered so far from S-Central America. 3. The Santa Elena Ultramafics of N-Costa Rica together with the serpentinite outcrops near El Castillo (2) in Southern Nicaragua, are the southernmost outcrops of the MCOT. The Santa Elena Unit (3) itself is still undated, but it is thrust onto the middle Cretaceous Santa Rosa Accretionary Complex (SRAC), that contains Lower to Upper Jurassic, highly deformed radiolarite blocks, probably reworked from the MCOT, which was the upper plate with respect to the SRAC. 4. Serpentinites, metagabbros and basalts have long been known from DSDP Leg 67/84 (3), drilled off Guatemala in the Nicaragua-Guatemala forearc basement. They have been restudied and reveal 40Ar/39Ar dated Upper Triassic to middle Cretaceous enriched Ocean Island Basalts and Jurassic to Lower Cretaceous depleted Island arc rocks of probable Pacific origin. The area between localities 1-4 is largely covered by Tertiary to Recent arcs, but we suspect that its basement is made of oceanic/accreted terranes. Earthquake seismic studies indicate an ill-defined, shallow Moho in this area. The MCOT covers most of Nicaragua and could extend to Guatemala to the W and form the Lower (southern) Nicaragua Rise to the NE. Some basement complexes of Jamaica, Hispaniola and Puerto Rico may also belong to the MCOT. The Nicoya Complex s. str. has been regarded as an example of Caribbean crust and the Caribbean Large Igneous Province (CLIP). However, 40Ar/39Ar - dates on basalts and intrusives indicate ages as old as Early Cretaceous. Highly deformed Jurassic and Lower Cretaceous radiolarites occur as blocks within younger intrusives and basalts. Our interpretation is that radiolarites became first accreted to the MCOT, then became reworked into the Nicoya Plateau in Late Cretaceous times. This implies that the Nicoya Plateau formed along the Pacific edge of the MCOT, independent form the CLIP and most probably unrelated with he Galapagos hotspot. No Jurassic radiolarite, no older sediment age than Coniacian-Santonian, and no older 40Ar/39Ar age than 95 Ma is known from S-Central America between SE of Nicoya and Colombia. For us this area represents the trailing edge of the CLIP s. str.