Search

Colorectal cancer (CRC) epidemiology is changing due to a birth cohort effect, first recognized by increasing incidence of early onset CRC (EOCRC, age <50 years). In this paper, we define "birth cohort CRC" as the observed phenomenon, among individuals born 1960 and later, of increasing CRC risk across successive birth cohorts, rising EOCRC incidence, increasing incidence among individuals aged 50 to 54 years, and flattening of prior decreasing incidence among individuals aged 55 to 74 years. We demonstrate birth cohort CRC is associated with unique features, including increasing rectal cancer (greater than colon) and distant (greater than local) stage CRC diagnosis, and increasing EOCRC across all racial/ethnic groups. We review potential risk factors, etiologies, and mechanisms for birth cohort CRC, using EOCRC as a starting point and describing importance of viewing these through the lens of birth cohort. We also outline implications of birth cohort CRC for epidemiologic and translational research, as well as current clinical practice. We postulate that recognition of birth cohort CRC as an entity—including and extending beyond rising EOCRC—can advance understanding of risk factors, etiologies, and mechanisms, and address the public health consequences of changing CRC epidemiology. [Display omitted] [ABSTRACT FROM AUTHOR]

Mieke Bal’s concept of “migratory aesthetics” and the observation by Saloni Mathur and Anne Ring Peterson that “traditional notions of location, origin and authenticity seem obsolete and in urgent need of reconsideration” perfectly encompass the phrase “Jewish art”, and within that difficult-to-define subject, Israeli art (which, among other things, is not always “Jewish”). As Hava Aldouby has noted, Israeli art presents a unique inflection of the global condition of mobility—which in fact contributes to the problem of easily defining the category of “Israeli art”. Nothing could be more appropriate to the discussion of Israeli art, or to the larger definitional problem of “Jewish art” than to explore it through Nicolas Bourriaud’s botanical metaphor of the “radicant”, and thus the notion of “radicant art”. The important distinction that Bourriaud offers between radical and radicant plants—whereby the former type depends upon a central root, deep-seated in a single nourishing soil site, whereas the latter is an “organism that grows its roots and adds new ones as it advances…” with “…a multitude of simultaneous or successive enrootings”—is a condition that may be understood for both Israeli and Jewish art, past and present: Aldouby’s notion that the image of the Wandering Jew offers the archetypal radicant, informs both the “altermodernity” concept and Israeli art.

Black patients with hepatocellular cancer (HCC), often attributed to hepatitis C virus (HCV) infection, have suboptimal survival following liver transplant (LT). We evaluated the impact of direct-acting antiviral (DAA) availability on racial and ethnic disparities in wait list burden post-LT survival for candidates with HCC. Using the United Network for Organ Sharing registry, we identified patients with HCC who were listed and/or underwent LT from 2009 to 2020. Based on date of LT, patients were categorized into 2 era-based cohorts: the pre-DAA era (LT between 2009 and 2011) and DAA era (LT between 2015 and 2017, with follow-up through 2020). Kaplan-Meier and Cox proportional hazards analyses were used to compare post-LT survival, stratified by era and race and ethnicity. Annual wait list additions for HCV-related HCC decreased significantly in White and Hispanic patients during the DAA era, with no change (P =.14) in Black patients. Black patients had lower 3-year survival than White patients in the pre-DAA era (70.6% vs 80.1%, respectively; P <.001) but comparable survival in the DAA era (82.1% vs 85.5%, respectively; P =.16). 0n multivariable analysis, Black patients in the pre-DAA era had a 53% higher risk (adjusted hazard ratio [HR], 1.53; 95% confidence interval [CI], 1.28–1.84), for mortality than White patients, but mortality was comparable in the DAA era (adjusted HR, 1.23; 95% CI, 0.99–1.52). In a stratified analysis in Black patients, HCV-related HCC carried more than a 2-fold higher risk of mortality in the pre-DAA era (adjusted HR, 2.86; 95% CI, 1.50–5.43), which was reduced in the DAA era (adjusted HR, 1.34; 95% CI, 0.78–2.30). With the availability of DAA therapy, racial disparities in post-LT survival have improved. [ABSTRACT FROM AUTHOR]

Mieke Bal's concept of "migratory aesthetics" and the observation by Saloni Mathur and Anne Ring Peterson that "traditional notions of location, origin and authenticity seem obsolete and in urgent need of reconsideration" perfectly encompass the phrase "Jewish art", and within that difficult-to-define subject, Israeli art (which, among other things, is not always "Jewish"). As Hava Aldouby has noted, Israeli art presents a unique inflection of the global condition of mobility—which in fact contributes to the problem of easily defining the category of "Israeli art". Nothing could be more appropriate to the discussion of Israeli art, or to the larger definitional problem of "Jewish art" than to explore it through Nicolas Bourriaud's botanical metaphor of the "radicant", and thus the notion of "radicant art". The important distinction that Bourriaud offers between radical and radicant plants—whereby the former type depends upon a central root, deep-seated in a single nourishing soil site, whereas the latter is an "organism that grows its roots and adds new ones as it advances..." with "...a multitude of simultaneous or successive enrootings"—is a condition that may be understood for both Israeli and Jewish art, past and present: Aldouby's notion that the image of the Wandering Jew offers the archetypal radicant, informs both the "altermodernity" concept and Israeli art. [ABSTRACT FROM AUTHOR]