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Oral corticosteroids (OCS) are frequently used for asthma treatment. This medication is highly effective for both acute and chronic diseases, but evidence indicates that indiscriminate OCS use is common, posing a risk of serious side effects and irreversible harm. There is now an urgent need to introduce OCS stewardship approaches, akin to successful initiatives that optimized appropriate antibiotic usage. The aim of this TSANZ (Thoracic Society of Australia and New Zealand) position paper is to review current knowledge pertaining to OCS use in asthma and then delineate principles of OCS stewardship. Recent evidence indicates overuse and over-reliance on OCS for asthma and that doses >1000 mg prednisolone-equivalent cumulatively are likely to have serious side effects and adverse outcomes. Patient perspectives emphasize the detrimental impacts of OCS-related side effects such as weight gain, insomnia, mood disturbances and skin changes. Improvements in asthma control and prevention of exacerbations can be achieved by improved inhaler technique, adherence to therapy, asthma education, smoking cessation, multidisciplinary review, optimized medications and other strategies. Recently, add-on therapies including novel biological agents and macrolide antibiotics have demonstrated reductions in OCS requirements. Harm reduction may also be achieved through identification and mitigation of predictable adverse effects. OCS stewardship should entail greater awareness of appropriate indications for OCS prescription, risk–benefits of OCS medications, side effects, effective add-on therapies and multidisciplinary review. If implemented, OCS stewardship can ensure that clinicians and patients with asthma are aware that OCS should not be used lightly, while providing reassurance that asthma can be controlled in most people without frequent use of OCS.

Muchas invenciones, puestas por escrito en los torneos del siglo XV donde nacieron, vinieron a parar en dos cancioneros, el Cancionero general de 1511 [11CG] y British Library MS Add. 10431 [LB1]. Alli, en secciones genericas, aparecen no segun el autor sino como producto de la suerte de participacion en los torneos. Existen, sin embargo, algunas configuraciones significantes, autoriales y otras. Aunque algunas de ellas nos remite al periodo de la trasmision de los torneos a los cancioneros, otras, quiza de mayor interes, sugieren un origen en los torneos mismos.

Quien madruga is a popular, anonymous ensalada of the late sixteenth century that probably circulated in many texts, both print and manuscript. The four extant witnesses, however, are particularly interesting in that some of their variants suggest that material was absent or illegible at an earlier stage of the transmission; these deficiencies (one is substantial) have later been made good by copyists or printers. We thus have examples of variants that are neither authorial nor mechanical but editorial, a type comparatively neglected by textual critics.

Corella's La sepultura had for long been seen as dominated by the male voice, when in 1986 Eduard J. Verger maintained that a substantial section was in the voice of the woman. But this convincing reinterpretation, which would make the poem unusual in fifteenth-century Valencian love poetry, was stated rather than argued. The main purpose of the present article is to supply the arguments. A probable Petrarchan source for the poem is also suggested.

It is now reasonable to assume that the rubrics in the three earliest surviving editions of the sixteenth-century, anonymous La vida de Lazarillo de Tormes y de sus fortunas y adversidades are apocryphal. This article stresses that, if so, the first tractado epigraph no longer necessarily marks the division between prologue and letter. The prologue probably in fact ended a paragraph earlier. Scholars have long sought to reconcile what now appear as the prologue proper and a factitious extension. The new structure proposed, while by no means abolishing problems in this area, may nonetheless enable us to take a more relaxed view of them.

(2000). One Swallow Does Make a Summer: Assonance in Galician-Portuguese Cantigas. Bulletin of Hispanic Studies: Vol. 77, No. 5, pp. 397-406.

Love in lirica de tipo tradicional, despite the existence of a Tennysonian "Descendid al valle, la nifia,"' is typically not "of the valley." As Margaret van Antwerp notes, "folk song ... commonly associates love and lovemaking with treetops or other high places and with the act of climbing up to them."2 Her examples, designed to show the parallels between Peninsular traditional song and "the strange, lofty position of the silver goblet in the treetop" in the Raz6n de amor (p. 8), include "Por enjima de la oliva / mirame el Amor, mira" (50), "Arribica, arribica / de un verde sauze / luchava la nifia / con su adorante" (2380), and the romance viejo "A cazar va el caballero;" who

It is itself traditional to analyse lirica de tipo tradicional in terms of motifs, part of the purpose being to show continuity with kharjas and cantigas de amigo. Some of these motifs are anecdotal. A morenita is concerned about her dark complexion. Lovers meet at dawn. A girl cannot sleep, is closely guarded by her mother, or no quiere ser monja. Others are symbolic: running water, and the wind, of sexuality; the sea, of the penas de amor; a plant, of the girl or her lover. Many of course are both. The lovers meet at the fountain/riverbank, or there is an expedition to the countryside to gather the trWbol. The list is copious, but not necessarily closed. Excuses that are so transparently disingenuous as hardly to constitute an attempt to deceive are the basis of the well known song in which the girl, presumably not without prompting ("Yo me iba, mi madre"), tells of a pilgrimage on which she was "accidentally" united with her lover "so el encina".' She had set out alone "por ir mds devota," left the usual route for reasons unexplained ("tome otro camino, / deje el que tenia"), "found herself" lost in a wood, and, "mezquina," woke at midnight "en los brazos / del que mds queria". A more subtle transparency is found, at least by the mother, in