New insights into methodology and interpretation of osteoarthritis. The study of Frassetto identified skeletal collection.

Osteoarthritis (OA) or degenerative joint disease (DJD) is a pathology which affects the synovial joints and characterised by a focal loss of articular cartilage and subsequent bony reaction of the subcondral and marginal bone. Its etiology is best explained by a multifactorial model including: age, sex, genetic and systemic factors, other predisposing diseases and functional stress. In this study the results of the investigation of a modern identified skeletal collection will be presented. In particular, we will focus on the relationship between the presence of OA at various joints. The joint modifications have been analysed using a new methodology that allows the scoring of different degrees of expression of the features considered. Materials and Methods The sample examined comes from the Sassari identified skeletal collection (part of “Frassetto collections”). The individuals were born between 1828 and 1916 and died between 1918 and 1932. Information about sex and age is known for all the individuals. The occupation is known for 173 males and 125 females. Data concerning the occupation of the individuals indicate a preindustrial and rural society. OA has been diagnosed when eburnation (EB) or loss of morphology (LM) were present, or when at least two of the following: marginal lipping (ML), esostosis (EX) or erosion (ER), were present. For each articular surface affected a “mean score” was calculated, reflecting the “severity” of the alterations. A further “score” was calculated for each joint. In the analysis sexes and age classes were always kept separate. For the statistical analyses non parametric test were used. Results The results show there is an increase of OA with age in all the joints analyzed and in particular around 50 years and 60 years. The shoulder, the hip and the knee are the joints mainly affected with ageing while the ankle is the less affected; the correlation values confirm this result. The lesion which show the major correlation with age is the ML. In our sample males are more frequently and more severely affected by OA than females, particularly at the superior limbs, while hip and knee are similarly affected in the two sexes. Lateralization shows some positive results in particular in the right shoulder of males and in various articular surfaces especially of the superior limb of both males and females; articular surfaces and joints are quite always lateralized to the right. Occupational analyses did not show remarkable results probably because of the homogeneity of the sample; males although performing different activities are quite all employed in stressful works. No highest prevalence of knee and hip OA was found in farm-workers respect to the other males. Discussion and Conclusion In this work we propose a methodology to score the different features, necessary to diagnose OA, that allows the investigation of the severity of joint degeneration. This method is easier than the one proposed by Buikstra and Ubelaker (1994), but in the same time allows a quite detailed recording of the features. Epidemiological results can be interpreted quite simply and they are in accordance with other studies; more difficult is the interpretation of the occupational results because many questions concerning the activities performed by the individuals of the collection during their lifespan cannot be solved. Because of this, caution is suggested in the interpretation of bioarcheological specimens. With this work we hope to contribute to the discussion on the puzzling problem of the etiology of OA. The possibility of studying identified skeletons will add important data to the description of osseous features of OA, enriching the medical documentation, based on different criteria. Even if we are aware that the clinical diagnosis is different from the palaeopathological one we think our work will be useful in clarifying some epidemiological as well as pathological aspects of OA.

Musica come Scienza dell'uomo. I caratteri del sapere musicale nel Settecento britannico

The departure point of the present work is the idea that in order to understand what music meant to British society in the Eighteenth-Century an interdisciplinary approach is necessary. Natural philosophy, moral philosophy, musical treatises and histories of music: all these sources concur both to the creation of a new idea about what music and its ‘science’ are, and to question the place which music ought to have in the realm of the Science of Man. The dissertation is divided into two sections. In the first one we will take into account philosophical sources (from John Locke, Joseph Addison and Lord Shaftesbury, to Lord Kames and Adam Smith), and we will examine their thoughts on music. In the second one we will deal with musical sources (from the Treatise of Musick of Alexander Malcom, to the Histories of Music of Charles Burney and John Hawkins) in order to show their connection with the philosophical literature before mentioned. The main aim of the work it to show that the development of specific philosophies of the human mind, such as the ones of John Locke and David Hume, did influence the way in which music was thought. Particularly we will point out the case of Adam Smith’s interpretation of instrumental music, which is heavily indebted to the humeian model of the human mind.

Raccontare gli Antichi: le "Imagini" di Vincenzo Cartari

Con le "Imagini degli dei degli antichi", pubblicate a Venezia nel 1556 e poi in più edizioni arricchite e illustrate, l’impegnato gentiluomo estense Vincenzo Cartari realizza il primo, fortunatissimo manuale mitografico italiano in lingua volgare, diffuso e tradotto in tutta l’Europa moderna. Cartari rimodula, secondo accenti divulgativi ma fedeli, fonti latine tradizionali: come le ricche "Genealogie deorum gentilium" di Giovanni Boccaccio, l’appena precedente "De deis gentium varia et multiplex historia" di Lilio Gregorio Giraldi, i curiosi "Fasti" ovidiani, da lui stesso commentati e tradotti. Soprattutto, però, introduce il patrimonio millenario di favole ed esegesi classiche, di aperture egiziane, mediorientali, sassoni, a una chiave di lettura inedita, agile e vitalissima: l’ecfrasi. Le divinità e i loro cortei di creature minori, aneddoti leggendari e attributi identificativi si susseguono secondo un taglio iconico e selettivo. Sfilano, in trionfi intrisi di raffinato petrarchismo neoplatonico e di emblematica picta poesis rinascimentale, soltanto gli aspetti figurabili e distintivi dei personaggi mitici: perché siano «raccontate interamente» tutte le cose attinenti alle figure antiche, «con le imagini quasi di tutti i dei, e le ragioni perché fossero così dipinti». Così, le "Imagini" incontrano il favore di lettori colti e cortigiani eleganti, di pittori e ceramisti, di poeti e artigiani. Allestiscono una sorta di «manuale d’uso» pronto all’inchiostro del poeta o al pennello dell’artista, una suggestiva raccolta di «libretti figurativi» ripresi tanto dalla maniera di Paolo Veronese o di Giorgio Vasari, quanto dal classicismo dei Carracci e di Nicolas Poussin. Si rivelano, infine, summa erudita capace di attirare appunti e revisioni: l’antiquario padovano Lorenzo Pignoria, nel 1615 e di nuovo nel 1626, vi aggiunge appendici archeologiche e comparatistiche, interessate al remoto regno dei faraoni quanto agli esotici idoli orientali e dei Nuovi Mondi.