Cord blood adipokines, neonatal anthropometrics and postnatal growth in offspring of Hispanic and Native American women with diabetes mellitus

BACKGROUND: Offspring of women with diabetes mellitus (DM) during pregnancy have a risk of developing metabolic disease in adulthood greater than that conferred by genetics alone. The mechanisms responsible are unknown, but likely involve fetal exposure to the in utero milieu, including glucose and circulating adipokines. The purpose of this study was to assess the impact of maternal DM on fetal adipokines and anthropometry in infants of Hispanic and Native American women.

METHODS: We conducted a prospective study of offspring of mothers with normoglycemia (Con-O; n = 79) or type 2 or gestational DM (DM-O; n = 45) pregnancies. Infant anthropometrics were measured at birth and 1-month of age. Cord leptin, high-molecular-weight adiponectin (HMWA), pigment epithelium-derived factor (PEDF) and C-peptide were measured by ELISA. Differences between groups were assessed using the Generalized Linear Model framework. Correlations were calculated as standardized regression coefficients and adjusted for significant covariates.

RESULTS: DM-O were heavier at birth than Con-O (3.7 ± 0.6 vs. 3.4 ± 0.4 kg, p = 0.024), but sum of skinfolds (SSF) were not different. At 1-month, there was no difference in weight, SSF or % body fat or postnatal growth between groups. Leptin was higher in DM-O (20.1 ± 14.9 vs. 9.5 ± 9.9 ng/ml in Con-O, p < 0.0001). Leptin was positively associated with birth weight (p = 0.0007) and SSF (p = 0.002) in Con-O and with maternal hemoglobin A1c in both groups (Con-O, p = 0.023; DM-O, p = 0.006). PEDF was positively associated with birth weight in all infants (p = 0.004). Leptin was positively associated with PEDF in both groups, with a stronger correlation in DM-O (p = 0.009). At 1-month, HMWA was positively associated with body weight (p = 0.004), SSF (p = 0.025) and % body fat (p = 0.004) across the cohort.

CONCLUSIONS: Maternal DM results in fetal hyperleptinemia independent of adiposity. HMWA appears to influence postnatal growth. Thus, in utero exposure to DM imparts hormonal differences on infants even without aberrant growth.

Poetry With People With Dementia: An Evaluation of a Two Year Project Engaging in Poetry Activities With Older People in Residential and Nursing Homes.

This paper is a summary of an evaluation of the first two years of a three year poetry project for older people with dementia. The project was set up with a poet in residence who mentored six poets to deliver poetry activities to older people and those with dementia in residential and care homes in Herefordshire. The project was developed and run by the Courtyards Hereford. The evaluation was undertake through the use of questionnaires that were given to staff and carers undertaking training workshops and the poets, staff and carers in the homes who facilitated the activities and finally by the residents who took part in the project. The main findings were that participants that responded to the questionnaire for staff and carers it had increased confidence and assisted them in gaining more knowledge about the residents, whilst for residents it had a number of positive effects including enhanced communication, increased self-esteem and enhanced self-worth whilst making them feel less isolated.

The Pindaric poetry of Cruz e Silva and the Neoclassical revival among Lusitanian national heroes

António Dinis da Cruz e Silva, member of Arcádia Lusitana, the literary academy he helped to found, introduced the Pindaric ode to the Portuguese literature of the neoclassical period (18th century). This poet imitates the triadic form and the mythological nature of Pindar’s encomiastic poetry, in order to celebrate the deeds of reputed historical figures from the national context, such as sailors, captains, politicians, and even the king himself. As in Pindar’s poetry, the mythological excursus holds an important part in Cruz e Silva’s Pindaric poetry. Winners of athletic games are acclaimed through allusion to the ancient heroes. Likewise, the heroes of the Portuguese history see themselves turned into immortals, since their deeds are reported as comparatively greater than those of Homeric warriors. Among the 44 Cruz e Silva’s Pindaric odes, 18 rewrite the myth of the Trojan War, from its beginnings with Eris (Odes I-II) to its outcome with the imperishable fame of the most conspicuous Homeric fighters (Ode XLII). These 18 compositions (re)tell, in a neoclassical style, the main scenes and themes of the Iliad and Odyssey, alluding directly to their heroes’ deeds. Achilles’ wrath and Hector’s death are topics repeatedly brought up in Cruz e Silva’s Pindaric poetry as models of courage and patriotism for national heroes. This chapter offers a discussion of Cruz e Silva’s neoclassical representation of the Trojan War. To this effect, an interdisciplinary approach is adopted, showing how the Portuguese poet handles the mythological material from Homer and Pindar. In this way, he initiated in 18th-century Portuguese literature a new literary genre, the Pindaric ode. By dealing with Poetry and History, Cruz e Silva perpetuated the life and fame of national heroes long after their deaths.

Poetry and feminine crafts in the letters of the young Marquise of Alorna (1750-1839)

abstract : Taking as a starting point the association between embroidery and language conveyed by the Greek myth of Filomela and Procne, this article examines the relationship between social status and ornaments like embroidery and lace. In order to illustrate this relationship an example is selected form the letters exchanged between the Marquise of Alorna and her Father where a connection is established between the production of these 'feminine' crafts, women's culture and womens writing, in the XVIIIth Century

Creation of an Age-Adjusted, Dual-Energy X-ray Absorptiometry-Derived Trabecular Bone Score Curve for the Lumbar Spine in Non-Hispanic US White Women.

The trabecular bone score (TBS, Med-Imaps, Pessac, France) is an index of bone microarchitecture texture extracted from anteroposterior dual-energy X-ray absorptiometry images of the spine. Previous studies have documented the ability of TBS of the spine to differentiate between women with and without fractures among age- and areal bone mineral density (aBMD)-matched controls, as well as to predict future fractures. In this cross-sectional analysis of data collected from 3 geographically dispersed facilities in the United States, we investigated age-related changes in the microarchitecture of lumbar vertebrae as assessed by TBS in a cohort of non-Hispanic US white American women. All subjects were 30 yr of age and older and had an L1-L4aBMDZ-score within ±2 SD of the population mean. Individuals were excluded if they had fractures, were on any osteoporosis treatment, or had any illness that would be expected to impact bone metabolism. All data were extracted from Prodigy dual-energy X-ray absorptiometry devices (GE-Lunar, Madison, WI). Cross-calibrations between the 3 participating centers were performed for TBS and aBMD. aBMD and TBS were evaluated for spine L1-L4 but also for all other possible vertebral combinations. To validate the cohort, a comparison between the aBMD normative data of our cohort and US non-Hispanic white Lunar data provided by the manufacturer was performed. A database of 619 non-Hispanic US white women, ages 30-90 yr, was created. aBMD normative data obtained from this cohort were not statistically different from the non-Hispanic US white Lunar normative data provided by the manufacturer (p = 0.30). This outcome thereby indirectly validates our cohort. TBS values at L1-L4 were weakly inversely correlated with body mass index (r = -0.17) and weight (r = -0.16) and not correlated with height. TBS values for all lumbar vertebral combinations decreased significantly with age. There was a linear decrease of 16.0% (-2.47 T-score) in TBS at L1-L4 between 45 and 90 yr of age (vs. -2.34 for aBMD). Microarchitectural loss rate increased after age 65 by 50% (-0.004 to -0.006). Similar results were obtained for other combinations of lumbar vertebra. TBS, an index of bone microarchitectural texture, decreases with advancing age in non-Hispanic US white women. Little change in TBS is observed between ages 30 and 45. Thereafter, a progressive decrease is observed with advancing age. The changes we observed in these American women are similar to that previously reported for a French population of white women (r(2) > 0.99). This reference database will facilitate the use of TBS to assess bone microarchitectural deterioration in clinical practice.

Using Poetry, Story, and Reflection to Understand Professional Self After Personal Loss

This research investigated professional identity transformation after personal loss. Through autoethnographic methods, I explore how my personal experience of my sister’s breast cancer and death affected my identity as a diabetes educator in the health culture. I discover a transformation of a professional who focuses on evidence-based medicine to a professional who values connection, therapeutic alliance, and mindfulness with patients and self in the diabetes education encounter. Using a holistic perspective on transformational learning, I integrate the poem “Wild Geese” to a collection of written narratives to connect my personal loss experience to my professional life. By unpacking the generated stories and using poetry, I conduct a process of critical and self-reflection to discover how my identity as a health professional has transformed and what makes meaning in my role as a diabetes educator in the health culture. I consider concepts of a conscious self, social relations and language and discover themes of knowledge exchange, food, and empathy as forms of language expression. These language expressions are not present in my professional life as I focus on rational, logical facts of evidence-based medicine and standardized education methods. Through this reflexive process, I hope to understand how my professional practice has changed, where I place an importance on connection, therapeutic alliance, and mindfulness. I move away from always “doing” in my professional life to focus on my state of “being” in my professional world. Rather than knowledge acquisition as the only factor in professional development, this study contributes to an understanding of additional qualities health professionals may consider that focus on the patient education encounter.

In The Circle : jazz Griots and the Mapping of African American Cultural Memory in Poetry

Ma thèse de doctorat, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry, étudie la façon dont les poètes afro-américains des années 1960 et 1970, Langston Hughes, David Henderson, Sonia Sanchez, et Amiri Baraka, emploient le jazz afin d’ancrer leur poésie dans la tradition de performance. Ce faisant, chacun de ces poètes démontre comment la culture noire, en conceptualisant à travers la performance des modes de résistance, fût utilisée par les peuples de descendance africaine pour contrer le racisme institutionnalisé et les discours discriminatoires. Donc, pour les fins de cette thèse, je me concentre sur quatre poètes engagés dans des dialogues poétiques avec la musicologie, l’esthétique, et la politique afro-américaines des années 1960 et 1970. Ces poètes affirment la centralité de la performativité littéraire noire afin d’assurer la survie et la continuité de la mémoire culturelle collective des afro-américains. De plus, mon argument est que la théorisation de l’art afro-américain comme engagement politique devient un élément central à l’élaboration d’une esthétique noire basée sur la performance. Ma thèse de doctorat propose donc une analyse originale des ces quatre poètes qui infusent leur poèmes avec des références au jazz et à la politique dans le but de rééduquer les générations des années 2000 en ce qui concerne leur mémoire collective.

"The nothing that is" : An Ethics of Absence Within the Poetry of Wallace Stevens

Cette thèse se concentre sur ce que j'appelle «l’espace négatif» de la représentation dans la poésie de Stevens comme étant un véritable espace d'engagement politique, une interprétation qui se distingue de la plus grande partie de la critique sur Stevens. En suivant les écrits philosophiques d'Emmanuel Levinas, j'affirme que l'emphase que Stevens place sur la représentation de la représentation elle-même ouvre un espace au-delà des limites rigides de l'identité-ce que Levinas appelle « le je [sujet] semblable », permettant un contact authentique avec « l'Autre» ainsi qu’avec le concept de « l'infini ». Bien que Stevens s’est farouchement opposé à la notion Romantique de la sublime transcendance, c’est-à-dire d'un espace censé exister en dehors des limites de l'imagination humaine, il se concerne néanmoins avec l'exploration d'un espace au-delà de l'identité individuelle. Pour Stevens, cependant, « la transcendance» est toujours, nécessairement, liée par les restrictions reconnues du langage humain et de l'imagination, et donc par la réalité du monde perceptible. Toute « transcendance» qui est recherchée ou atteinte, dans la poésie de Stevens ne devrait donc pas - ma thèse affirme - être entendu dans le sens sublime déterminé auparavant par les Romantiques. Une connexion plus appropriée peut plutôt être faite avec la transcendance concrète et immédiate décrit par Lévinas comme le «face à face ». L’attention que Stevens accordent aux notions concrètes et immédiates est souvent exprimé à travers son attention sur les qualités esthétiques de la langue. Sa poésie a en effet la poésie pour sujet, mais pas dans le sens solipsiste qui lui est souvent attribué. En se concentrant sur le processus actif et créateur inhérent à l'écriture et à la lecture de la poésie, Stevens explore la nature de l'Etre lui-même. Je compare cette exploration dans le travail de Stevens à celle du dessinateur, ou de l'artiste, et dans ma conclusion, je suggère les liens entre l'approche d'enquête de Stevens et celle d’artistes visuels contemporains qui se sont également engagés à la figuration du processus créatif. L’ artiste sud-africain William Kentridge est mon exemple principal , en raison de sa conviction que la méthode est intrinsèquement liée à l'engagement politique et social.

La traduction de la littérature hispano-américaine au Québec : de l'intégration immigrante à la mondialisation éditoriale

En 2012, la traduction au Québec d'ouvrages littéraires d'auteurs issus de l'Amérique hispanique est encore un phénomène marginal. Pourtant, les entreprises de traduction de tels ouvrages se sont faites plus nombreuses au cours des vingt dernières années, et deux maisons d'édition québécoises leur ont fait la part belle : Les Écrits des Forges et Les Allusifs. La première a publié en français de nombreux canons de la poésie mexicaine tandis que la seconde possède à son catalogue (maintenant chez Leméac) bon nombre d'auteurs hispano-américains. Les efforts de ces éditeurs ont été précédés d'un premier mouvement d'accueil de la littérature hispano-américaine, mouvement principalement lié à la venue au Canada d'auteurs hispano-américains immigrants, souvent des réfugiés qui avaient fui la guerre ou la dictature dans leur pays d'origine. À partir de la théorie des champs de Pierre Bourdieu et de l’application de cette théorie à l’espace littéraire international par Pascale Casanova, ce mémoire cherche à expliquer plus en détail les conditions et logiques qui sous-tendent la traduction et l’édition des littératures hispano-américaines au Québec. Pour ce faire, il analyse la trajectoire de trois auteurs dont chacun a vu au moins un de ses titres publié en français. Ces auteurs sont le Salvadorien Horacio Castellanos Moya, dont le roman intitulé Le Dégoût a été publié aux Allusifs en 2003, le Mexicain Jaime Sabines, dont Poemas del peatón/Poèmes du piéton a été publié aux Écrits des Forges en 1997, et la Colombienne québécoise Yvonne América Truque, dont le recueil de poèmes Proyección de los silencios/Projection des silences a été publié au CÉDAH en 1986. Chacune des trajectoires illustre un modèle de production et de diffusion particulier de la littérature hispano-américaine en traduction qui s’est manifesté durant les vingt dernières années. Ensemble, elles permettent de dégager le parcours évolutif de l’édition vers une intégration de plus en plus mondialisée des mécanismes de diffusion des biens symboliques.