Increased prevalence of hyperhomocysteinemia in cervical artery dissection causing stroke: a case-control study

BACKGROUND: Spontaneous cervical artery dissection (sCAD) is a nonatherosclerotic vascular disease of unknown etiology. Mild elevation of total plasma homocysteine (tHcy) levels may be a risk factor for sCAD, but the precise mechanism remains unknown. On the other hand, mild hyperhomocysteinemia is also associated with ischemic stroke related to atherothrombotic or small artery disease. We undertook a case-control study to compare the prevalence of mild hyperhomocysteinemia and tHcy levels between patients with a first ischemic stroke due to sCAD and healthy volunteers, as well as patients with a first ischemic stroke due to atherothrombotic or small artery disease. METHODS: Fasting tHcy levels were determined in 346 consecutive patients with a first ischemic stroke due to sCAD (n = 86) and atherothrombotic or small artery disease (n = 260) within 24 h after the onset of symptoms, and in 100 healthy volunteers. RESULTS: Mild hyperhomocysteinemia was more prevalent in patients with sCAD causing ischemic stroke (n = 33, 38%) than in healthy volunteers (n = 23, 23%; p = 0.034), and less prevalent than in patients with ischemic stroke due to atherothrombotic or small artery disease (n = 149, 57%; p = 0.001). Mean fasting tHcy levels of patients with ischemic stroke caused by sCAD showed a trend to be higher (11.4 +/- 3.8 micromol/l) than those of healthy volunteers (10.2 +/- 3.0 micromol/l, p = 0.61), but were lower than those of patients with stroke due to atherothrombotic or small artery disease (13.6 +/- 6.6 micromol/l, p = 0.002). CONCLUSION: Our results suggest that mild hyperhomocysteinemia may be a risk factor for sCAD causing ischemic stroke, but further studies are needed to identify a possible mechanism. This study confirms the association of hyperhomocysteinemia with ischemic stroke due to atherothrombotic or small artery disease.

Cosmos and Colonialism. Alexander von Humboldt in Cultural Criticism

Alexander von Humboldt explored the Spanish Empire on the verge of its collapse (1799–1804). He is the most significant German travel writer and the most important mediator between Europe and the Americas of the nineteenth century. His works integrated knowledge from two dozen domains. Today, he is at the center of debates on imperial discourse, postcolonialism, and globalization. This collection of fifty essays brings together a range of responses, many presented here for the first time in English. Authors from Schiller, Chateaubriand, Sarmiento, and Nietzsche, to Robert Musil, Kurt Tucholsky, Ernst Bloch, and Alejo Carpentier paint the historical background. Essays by contemporary travel writers and recent critics outline the current controversies on Humboldt. The source materials collected here will be indispensable to scholars of German, French, and Latin and North American literature as well as cultural and postcolonial studies, history, art history, and the history of science.

Schiller und das Wiener Burgtheater. Don Karlos-Inszenierungen 1938 und 1955 als Beispiele

Der Beitrag untersucht anhand der Rezeption von zwei exemplarischen Don Karlos-Inszenierungen, die beide in politisch markanten Jahren der österreichischen Geschichte ihre Premiere erlebten, die Funktionalisierung der Institution Burgtheater in Verbindung mit der Funktionalisierung des Dramatikers Friedrich Schiller für eben diese Institution. Eine Neueinstudierung erfolgte 1938, dem Jahr von Österreichs ‚Anschluss’ an Nazi-Deutschland, die andere 1955, dem Jahr der Unterzeichnung des Österreichischen Staatsvertrages. Beide Don Karlos-Inszenierungen fanden als spezifische Festvorstellungen im Rahmen von Feierlichkeiten rund um die Institution Burgtheater statt. Diente 1938 Schillers Don Karlos dazu, als ‚Schlüsselstück’ der ‚nationalsozialistischen Revolution’ einen politisch-gesellschaftlichen Aufbruch zu markieren, so wurde 1955 die Inszenierung des Dramas zum Triumph einer Schauspielerelite, deren Können sich in die konstruierte Tradition eines k.k. ‚Schauspieleradels’ einreihte. Während 1938 der ‚nationale Dichter’ dem ‚heimgekehrten’ Nationaltheater zum ästhetischen ‚Anschluss’ verhalf, diente der ‚überzeitliche’ Klassiker 1955 dazu, eine ästhetische ‚Wiedergeburt’ zu behaupten, die dem restaurativen Kunst- und Kulturbegriff Nachkriegsösterreichs verpflichtet war.