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Supplemental material, MF_Deviantrightssupplementaryfile for The Rights of Woman and the Equal Rights of Men by Karen Green in Political Theory

Background Pneumococcal vaccine recommendations in Canada include both age- and risk-based guidance. This study aimed to describe the burden of vaccine-preventable pneumococcal community acquired pneumonia (pCAP) and invasive pneumococcal disease (IPD) by age in hospitalized adults. Methods Active surveillance for all-cause CAP and IPD in hospitalized adults was performed from 2010 to 2017, including laboratory results, patient demographics, and outcomes. Streptococcus pneumoniae was detected using blood and sputum culture, or urine antigen detection (UAD). Serotype was assigned using Quellung reaction, PCR, or serotype-specific UADs spanning the 24 serotypes in PCV13 and PPV23 vaccines. Data were categorized by age (16-49, 50-64, 65+, and 50+ years) and over time. Results 11129 ACP cases and 216 cases of IPD (non-CAP) were identified. A laboratory test for S. pneumoniae was performed in 8912 of ACP cases, identifying 1264 (14.2%) as pCAP. Compared to non-pCAP, pCAP cases were more likely to be admitted to intensive care units and require mechanical ventilation. These serious outcomes, as well as mortality, were more prominent in bacteremic pCAP and IPD. Risk factors for death in pCAP included aged 75+ years, immune compromising conditions, and BMI < 18.5. When categorized by age, the proportion of individuals aged 65+ years for pCAP and IPD was 49.8% and 48.6%, and the 50-64 year age cohort represented 31.3% and 29.9%, respectively. The contributions of PCV13 and PPV23 serotypes remained relatively stable over time, and overall represented 57.6% and 90.9% for pCAP, and 35.0% and 72.0% for IPD, respectively. Conclusion Seven years following infant PCV13 immunization programs in Canada, PCV13 and PPV23 serotypes in pCAP and IPD remained predominant causes of pneumococcal disease. Serious outcomes were particularly evident in adults 50+, suggesting pneumococcal vaccines should be encouraged in this age group. Disclosures Jason J. LeBlanc, PhD, FCCM, D[ABMM], GSK (Research Grant or Support)Merck (Grant/Research Support)Pfizer (Grant/Research Support) Todd F Hatchette, MD, GSK (Grant/Research Support)Pfizer (Grant/Research Support) Melissa K. Andrew, MD, PhD, GSK (Grant/Research Support)Pfizer (Grant/Research Support, Advisor or Review Panel member)Sanofi (Consultant, Grant/Research Support, Advisor or Review Panel member)Seqirus (Advisor or Review Panel member) Allison McGeer, MSc,MD,FRCPC,FSHEA, GlaxoSmithKline (Advisor or Review Panel member)Merck (Advisor or Review Panel member, Research Grant or Support)Pfizer (Grant/Research Support, Scientific Research Study Investigator, Advisor or Review Panel member) Louis Valiquette, MD, M.Sc., Cubist (Consultant)GSK (Grant/Research Support)Merck (Consultant)Optimer (Consultant)Pfizer (Grant/Research Support) Shelly McNeil, FRCPC, MD, GSK (Grant/Research Support)Pfizer (Grant/Research Support)Sinofi Pasteur (Grant/Research Support)

VCU Theses and Dissertations

As you know, if you've been reading these pieces for any length of time, I've been building the graphic novels collection at Columbia for over six years now. A gradually increasing circle of faculty, in a gradually widening range of disciplines, have been using the collection in teaching and research, and students have been writing senior theses and masters essays that use our comics holdings as well. But there's nothing that says a topic has arrived like an academic symposium.

Karen Green considers writing about comics, and writing about writing about comics.

I've recently been reading Hillary Chute's terrific Graphic Women: Life Narrative and Contemporary Comics, in which Chute notes how particularly well-suited comics are for narratives of trauma. She observes that such works are "not only about events but also, explicitly, about how we frame them. The authors revisit their pasts, retrace events, and literally repicture them."

It's hardly news that comics and graphic novels can take on a subject of enormous seriousness and import and, through the medium's highly evocative blend of narrative and art, elicit a profound emotional, not to say visceral, response in the reader (see also, the "comics aren't just for kids anymore" syndrome). And so it is with the story of September 11th, 2001.

I've spent so much time trying to make inroads for comics and graphic novels in traditional academic departments at Columbia, that I completely forgot another natural constituency: our School of the Arts. So it was a pleasant surprise indeed to get an unexpected email this past summer from Tomas Vu-Daniel, Columbia's LeRoy Neiman Professor of Visual Arts and artistic director of the university's LeRoy Neiman Center for Print Studies. The big news: he was teaching a class on the production of a graphic novel, and wanted to know if he could bring his students to the library for a tour of my exhibition and a discussion of the history of the medium.

Karen Green looks at a work by manga-ka Shigeru Mizuki.

A discussion of the 1947 film noir Nightmare Alley.

As I find myself glued to news of the developments in Cairo, I'm thinking even more than usual about the connections between political activism and visual culture. There have been some great signs from Cairo that convey the people's feelings in cogent images.

Karen Green considers Louis Menand and the value of a liberal arts education in the context of Kate Beaton.

I had the incredible privilege of being asked to be an Eisner Awards judge for 2011. This was a long-held dream come true, and an opportunity both to immerse myself in all of 2010's comics and graphic novels, and also to hang out with five or six like-minded folks for five days of even more reading mixed with endless discussion. The Eisners work similarly to the Oscars: a panel of judges identifies a list of nominees, in close to thirty categories, and then the professional community votes on the nominations, with the winners announced at a gala ceremony in July at Comic-Con International in San Diego.

Literature and film have long anthropomorphised animals for one purpose or another, whether in the socialist allegory of George Orwell's Animal Farm or the heart-warming fable of E.B. White's Charlotte's Web, in the CGI cuteness of Babe or the satire of . . . well, of just about every Warner Brothers or Disney cartoon of the past seventy or eighty years. Most of these works have used animals to illuminate the human condition, but not many focus specifically on the animal condition.

Karen Green looks at a biography of Richard Feynman by Jim Ottaviani.