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Thebai, which serves as a mythological scene in narratives, appears in many works from Homer to Apollodoros, Sophocles to Seneca, especially as a city associated with tragic myths. The aim of this study is to draw a picture of Thebai, with selected texts of Antiquity, the city which is an important part of the geography and narrative of the period. Then, in order to reveal the dramatic structure of the city, the main mythological characters with which it is connected will be revealed, and its connection with the lineage of Cadmus and Dionysus will be described. Another aim is to provide a compendium that will serve as a reference for researchers interested in this topic; for this reason, general questions about the specific structure of the city of Thebai will be answered. In the light of selected texts, this city, which is very close to the heart of the Greek world, Athens, will be seen from the perspective of the ancient people, and it will be revealed where the strong connection of the city with mythology and tragedy stems from. [ABSTRACT FROM AUTHOR]

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This paper considers some implications of Ovid’s concept of a perpetuum carmen by examining how the ‘narrative line’ of the poem takes shape. I focus on how the Metamorphoses can be described in terms of horizontality, or verticality, or both, and use the Cadmus and Achelous episodes to demonstrate how ‘linear’ entities, particularly snakes and rivers, can determine the progress of the stories in which they appear.

The brief sojourn of St Hilarion to a setting not far from Epidaurus in Dalmatia in circa 365 CE was depicted by St Jerome in Vita Sancti Hilarionis, portraying the two notable miracles of the famous Palestinian anchorite - the slaying of the dragon Boas ravaging the area and the rescue of the city from the giant waves that threatened to devastate it. Both miracles have been interwoven into the later narratives of both medieval writers and the Renaissance chroniclers of Dubrovnik, especially Thomas the Archdeacon (of Split), Anonymous, Nicolo Ragnina and Serafino Razzi. The paper discourses these historians’ interpretations (along with the accounts of later Dubrovnik chroniclers) of the glorious miracles of St Hilarion. In the Dubrovnik chronicles, the miracle of the dragon is correlated with the legend of the Theban king Cadmus, who was transformed into a serpent upon his arrival in the area, or with Asclepius, the Greek god of medicine whose most famous sanctuary was the homonymous town in the Peloponnese and whose symbol was a serpent or snake on a rod. In accordance with the local legend, the mentioned chroniclers unambiguously correlated the liberation of the city from beast with the ending of paganism and the baptising of the Dubrovnik populace. Furthermore, the paper discusses the elements related to the cult of St Hilarion in Dubrovnik and its vicinity, drawing attention to the lore preserved in oral tradition.

Copyright of Acta Illyrica / Godišnjak Udruženja BATHINVS ACTA ILLYRICA is the property of Association for the Study & Promotion of Illyrian Heritage, Ancient & Classical Civilizations and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Roselyn Kellen,1 Nanette B Silverberg,2,3 Mark Lebwohl1 1Department of Dermatology, Icahn School of Medicine at Mount Sinai, New York, NY, USA; 2Department of Dermatology, Mount Sinai St Luke’s-Roosevelt Hospital, New York, NY, USA; 3Beth Israel Medical Centers, New York, NY, USA Abstract: The biologic agent ustekinumab is a human monoclonal antibody that binds to the p40 subunit shared by interleukins (ILs) 12 and 23. The antibody is able to prevent binding of cytokines to the IL-12Rβ1 cell surface receptor and therefore may prevent IL-23 driven activation of the IL-23/Th 17 axis of inflammation. The anti-inflammatory activity has been beneficial in adult psoriasis. Ustekinumab has been approved in the United States for the treatment of adults with psoriasis and psoriatic arthritis. Approval in children and adolescents has not been granted by the US Food and Drug Administration. Subcutaneous injections of ustekinumab are administered at baseline, week 4 and every 12 weeks thereafter, a regimen that is particularly appealing to young patients who do not like more frequent injections at home. The product is attractive because, although it works through an immune system mechanism, the selective activity is such that the drug has not been associated with many of the side effects attributed to other immunosuppressive medications. Case reports of ustekinumab for pediatric psoriasis have shown promising results, and the recent Phase III CADMUS trial tested the agent in adolescents aged 12–17 years with psoriasis, using standard dose 0.75 mg/kg (≤60 kg), 45 mg (>60–≤100 kg), and 90 mg (>100 kg) or half-standard dosing 0.375 mg/kg (≤60 kg), 22.5 mg (>60–≤100 kg), and 45 mg (>100 kg) with a loading dosage at week 0 and week 4. Psoriasis area and severity index-75 was achieved in more than three-quarters of patients in full and half dosing by 12 weeks, and psoriasis area and severity index-90 in 54.1% and 61.1% of half and full dosage by 12 weeks, respectively. Ustekinumab was generally well tolerated in adolescents, with some patients developing antibodies, and nasopharyngitis being the major adverse event. Ustekinumab is a promising agent in adolescent psoriasis that appears to be well tolerated. The best monitoring plan and usage in younger patients still remain to be defined.Keywords: pediatric psoriasis, ustekinumab, IL-12, IL-23, TNF agent

Sea travel was both uncomfortable and hazardous in the late sixteenth century, and even more so for women. Shakespeare's shipwrecked twins in Twelfth Night (1602) grace the stage at a time when sea travel for women was both uncommon and fraught with danger. Seafaring women faced captivity, slavery, and enforced marriage as passengers or the rare sailor aboard captured vessels, and this danger served to actively discourage sea travel for women. Viola, however, is not the first woman literary traveler to shipwreck on the shores of Illyria. Harmonia, wife of Cadmus in Ovid's Metamorphoses , arrives first. These female travelers' mobility and metamorphosis within their respective tales resist the anticipated resolutions of romance and, in Twelfth Night , festival. Like Harmonia, Viola's Illyrian shipwreck transforms her gender, her shape, and ultimately her identity. Ancient and early modern knowledge of Illyria, the geographic and cultural region, also underscores thematic emphasis on travel and mobility within Twelfth Night. The shipwreck, the cross-dressing, and the lover's complaints all frame Viola as a character from romance. However, by 1602, the maritime might of the English and the rapidly growing seafaring infrastructure also infuse this text. Viola the page-errant is also the early modern woman voyager, a less explored aspect of Viola's crisis of identity on the shores of Illyria. [ABSTRACT FROM AUTHOR]

Objective To compare the proportion of clinically significant prostate cancers (PCa) found in lesions detected by multiparametric MRI (mpMRI) with that found in lesions detected by multiparametric ultrasound (mpUSS), in men at risk. Patients and methods CADMUS (Cancer Detection by Multiparametric Ultrasound of the prostate) is a prospective, multi-centre paired cohort diagnostic utility study with built-in randomisation of order of biopsies. The trial is registered ISRCTN38541912. All patients will undergo the index test under evaluation (mpUSS ± biopsies), as well as the standard test (mpMRI ± biopsies). Eligible men will be those at risk of harbouring prostate cancer usually recommended for prostate biopsy, either for the first time or as a repeat, who have not had any prior treatment for prostate cancer. Men in need of repeat biopsy will include those with prior negative results but ongoing suspicion, and those with an existing prostate cancer diagnosis but a need for accurate risk stratification. Both scans will be reported blind to the results of the other and the order in which the targeted biopsies derived from the two different imaging modalities are taken will be randomised. Comparison will be drawn between biopsy results of lesions detected by mpUSS with those lesions detected by mpMRI. Agreement over position between the two imaging modalities will be studied. Discussion CADMUS will provide level one evidence on the performance of mpUSS derived targeted biopsies in the identification of clinically significant prostate cancer in comparison to mpMRI targeted biopsies. Recruitment is underway and expected to complete in 2018. [ABSTRACT FROM AUTHOR]

The physical or scientific state and cultural symbolism of the tooth can be used to creatively interrogate personal and collective identities. This research seeks to foreground the tooth and progress the ways in which it is used as a physical embodiment of identity in literature, as the tooth is the often forgotten body part of literary scholarship concerning identity and the body, despite its frequent presence in literature as an exploration of identity from the Greek myth of Cadmus to contemporary creative writing. Understanding the tooth as a physical embodiment of identity is a result of interdisciplinary research into contrasting spaces: scientific evidence, cultural traditions, and the poetry of Katherine Stansfield and Paul Farley. Through the foregrounding of the tooth in these contrasting spaces, the tooth as a physical embodiment of identity becomes a multifaceted location, or heterotopia, both physically and conceptually. In my poetry the tooth's heterotopia is performed through a more explicit and experimental use of language and white space, as a physical embodiment of the tooth's identity. The language of teeth provides access to new ways of further negotiating and progressing representations of identities within the field of creative writing. [ABSTRACT FROM PUBLISHER]

Various mythical 'exiles', gods (Cronus), heroes (Cadmus), and other individuals (Ophion, Typhon, Ogygus, Briareus) or groups (Cyclopes) were conceived as exiled for various reasons, but mainly because of a struggle with Zeus. Locations of their mythical exile were regularly conceived as distant, extreme, inaccessible, and, sometimes, out of this world. Consequently, the terms sometimes associated with those mythical exiles are ..., ..., and ... Most of the exiles were at some point placed in Tartarus, a term more or less applicable to a section of Hades; but they were regularly conceived as continuing their existence by the shore of the mythical 0ceanus, most probably in the farthest West. In a number of cases, both versions of the story existed, and they probably referred to the same thing: one can be at the ..., ..., or ... both under earth and at its western extremity. This fact is explained by the existence of two mythical models accounting for the diurnal solar movement. [ABSTRACT FROM AUTHOR]

Copyright of Stratum Plus Journal is the property of P.P. Stratum plus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The royal lineage of the founder of the city of Thebes, the Tyrian Cadmus, is represented in seven tragedies written by the three Athenian tragedians whose works have come down to our time: Aeschylus, in The Seven against Thebes; Sophocles, in Antigone, Oedipus Rex and Oedipus at Colonus; Euripides, in The Suppliants, The Phoenician Women and The Bacchae. The objective of this thesis work was to verify the presence of autochthony in these seven Athenian plays acclimated in Thebes, from the Theban myth of autochthony starring by Cadmus, and the influences on this tragic fate that desolated the successive generations of kings from the founder's oikos and his city. The autochthony is the noun that refers to the quality of autochthon assigned to that people inhabiting the same land since time immemorial, or in a mythical context, one who sprang from the earth. In both contexts, autochthony became a very important aspect of social and political organization of the Greek city-states, especially in relation to Athens. In this city, between the seventh and fourth century B.C., autochthony became an important criterion in the assignment of citizenship, besides being used as an ideological tool in the formulation of laws and in the conduct of domestic and foreign policy of Attica. In addition to these two concepts, the present investigation, however, pointed to a third sense in which autochthony set up as a 'sense of belonging' between autochthon and patris, characterized as a congenital connection, innate, emotional and mysterious which unites them unconditionally. This relationship between son and mother earth turned out to be something that has great influence in the shaping of the identity and in the both their lives. In the seven tragedies of the Theban cycle, such influences are evident in relation to the formation of collective identity and tragic fate that falls on Thebes during the domain of Cadmus' oikos represented on the course of the seven plays. Yet we verified that, in the case of Thebes, contrary to what is seen in the ancient Athenian history, autochthony is not represented in its positive values, but as the thread of a resulting curse of the nemesis of Ares, initiated by the actions of Cadmus which form the Theban myth of autochthony, and that befell the royal lineage of the founder and his city in the form of several killer actions. So autochthony became a miasma polluting the Theban soil, is transmitted to the descendants of the first king Thebes and condemns the city to the suffering and ruin uninterrupted until the founder's lineage comes to an end. Ultimately, it is apparent that the understanding of the reasons why Thebes suffers misfortunes followed passes through the joint reading of these seven tragedies of the Theban cycle that came to us, because only in this way is possible to see in full the saga of the oikos of Cadmus, which proved to be the protagonist of its own tragedy, which was not written as a play by the ancient dramatists, but reveals interspersed in the body of these seven tragedies. [ABSTRACT FROM AUTHOR]

Robust and sustainable efficacy was achieved with ustekinumab treatment for moderate to severe plaque psoriasis in adolescent pediatric patients in the phase 3 CADMUS trial, with better sustained responses at the weight-based standard dose. Safety profiles were acceptable for both the standard and half-standard doses, with no new adverse events identified. [ABSTRACT FROM PUBLISHER]