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Young patients with Fontan circulation may have low serum 25-hydroxyvitamin D levels, an affected liver, and unhealthy body compositions. This study aimed to explore the association between vitamin D intake/levels, liver biomarkers, and body composition in young Fontan patients.
We collected prospective data in 2017 to 2018, obtained with food-frequency questionnaires, biochemical analyses of liver biomarkers, and dual-energy X-ray absorptiometry scans in 44 children with Fontan circulation. Body compositions were compared to matched controls (n = 38). Linear regression analyses were used to investigate associations of biomarkers, leg pain, and lean mass on serum levels of 25-hydroxyvitamin D. Biomarkers were converted to z scores and differences were evaluated within the Fontan patients.
Our Fontan patients had a daily mean vitamin D intake of 9.9 µg and a mean serum 25-hydroxyvitamin D of 56 nmol/L. These factors were not associated with fat or lean mass, leg pain, or biomarkers of liver status. The Fontan patients had significantly less lean mass, but higher fat mass than controls. Male adolescents with Fontan circulation had a greater mean abdominal fat mass than male controls and higher cholesterol levels than females with Fontan circulation.
Vitamin D intake and serum levels were not associated with body composition or liver biomarkers in the Fontan group, but the Fontan group had lower lean mass and higher fat mass than controls. The more pronounced abdominal fat mass in male adolescents with Fontan circulation might increase metabolic risks later in life.
This round-table discussion, edited by Eva Urban and Lisa FitzGerald, took place on 5 July 2019 as part of the conference ‘New Romantics: Performing Ireland and Cosmopolitanism on the Anniversary of Human Rights’ organized by the editors at the Brian Friel Theatre, Queen’s University Belfast. Lisa FitzGerald is a theatre historian and ecocritic who completed postdoctoral fellowships at the Centre de Recherche Bretonne et Celtique (CRBC), Université Rennes 2 and the Rachel Carson Centre for Environment and Society, Ludwig Maximilian University of Munich. She is the author of Re-Place: Irish Theatre Environments (Peter Lang, 2017) and Digital Vision and the Ecological Aesthetic (forthcoming, Bloomsbury, 2020). Eva Urban is a Senior Research Fellow at the Senator George J. Mitchell Institute for Global Peace, Security, and Justice, Queen’s University Belfast, and an Associate Fellow of the Institute of Irish Studies, QUB. She is the author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011) and La Philosophie des Lumières dans le Théâtre Breton: Tradition et Influences (Université de Rennes, 2019). Rosemary Jenkinson is a Belfast playwright and writer of five short story collections. Her plays include The Bonefire (Rough Magic), Planet Belfast (Tinderbox), White Star of the North, Here Comes the Night (Lyric), Lives in Translation (Kabosh Theatre Company), and Michelle and Arlene (Accidental Theatre). Her writing for radio includes Castlereagh to Kandahar (BBC Radio 3) and The Blackthorn Tree (BBC Radio 4). She has received a Major Individual Artist Award from the Arts Council of Northern Ireland to write a memoir. Tom Maguire is Head of the School of Arts and Humanities at Ulster University and has published widely on Irish and Scottish theatre and in the areas of Theatre for Young Audiences and Storytelling Performance. His heritage research projects include the collection Heritage after Conflict: Northern Ireland (Routledge, 2018, co-edited with Elizabeth Crooke). David Grant is a former Programme Director of the Dublin Theatre Festival and was Artistic Director of the Lyric Theatre in Belfast. He has worked extensively as a theatre director throughout Ireland and is co-investigator of an AHRC-funded research project into Arts for Reconciliation. He lectures in drama at Queen’s University Belfast.
In this article Eva Urban describes a historical tradition of Breton enlightenment theatre, and examines in detail two multilingual contemporary plays staged in Brittany: Merc’h an Eog / Merch yr Eog / La Fille du Saumon (2016), an international interceltic co-production by the Breton Teatr Piba and the Theatr Genedlaethol Cymru (the Welsh-language national theatre of Wales); and the Teatr Piba production Tiez Brav A Oa Ganeomp / On avait de jolies maisons (2017). She examines recurring themes about knowledge, enlightenment journeys, and refugees in Brittany in these plays and performances, and presents the argument that they stage cosmopolitan and intercultural philosophical ideas. Eva Urban is Senior Research Fellow at the Senator George J. Mitchell Institute for Global Peace, Security and Justice, Queen's University Belfast. She has held a Région de Bretagne Postdoctoral Research Fellowship at the Centre for Breton and Celtic Studies, University of Rennes 2, a research lectureship in the English Department, University of Rennes 2, and a British Academy Postdoctoral Fellowship at the University of Cambridge. She is the author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011) and has published articles in New Theatre Quarterly, Etudes Irlandaises, Caleidoscopio, and chapters in book collections.
Drawing on a close reading of Theodor Adorno's essay, ‘Education after Auschwitz’, in this article Eva Urban develops the argument that an analysis of the reification that reduces human relationships to mere business interactions has been a central concern of modern drama. The article offers an analysis of some of the ways in which this theme continues to be represented, interrogated, and challenged internationally in contemporary political plays and theatre performances across a range of genres and grounded in a variety of dramaturgical principles. It asks how drama, theatre-making, theatre-spectating, and theatre-participating can create dynamics necessary to enable a move from reified consciousness towards the development of critical autonomy and solidarity. A negotiation of the principles of critical consciousness and solidarity is problematic within economic structures that cause social, ethnic, and religious atomization and divisions. Her argument concludes with an outline for a manifesto for political drama and theatre practice to work against reification. Eva Urban is a lecturer and researcher in the English Department and an Associate of the Irish Studies Research Centre, CEI/CRBC, at the University of Rennes 2, France. She recently completed a British Academy Postdoctoral Fellowship at the University of Cambridge and is a Life Member of Clare Hall, Cambridge. The author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011), she has also published articles in New Theatre Quarterly, Etudes Irlandaises, Caleidoscopio, and edited book collections.
In Writings on Cities Henri Lefebvre calls for a
‘renewed right to urban life’. He maintains that
‘we must thus make the effort to reach out towards a new humanism, a
new praxis, another man, that of urban society’. City spaces are used
in a number of contemporary Irish site-specific theatre productions to explore
histories of oppression and social injustice, and to imagine a new humanist
praxis for society. The international multi-artform production The
Conquest of Happiness (2013) was inspired by Bertrand
Russell’s commitment to human happiness in defiance of war and
suffering in his book The Conquest of Happiness (1930) and in
his many political and philosophical writings. In this article Eva Urban
critically examines the ways in which the performance in Northern Ireland
attempted to embody Russell’s humanism and related critical concepts
to encourage active citizenship. She considers to what extent the dramaturgical
options employed inthe production applied Russell’s ideas and those
of other thinkers by developing critical representations of inhumanity,
challenging authoritarianism, and exploring humanist ideals. Eva Urban is a
British Academy Postdoctoral Research Fellow in the Faculty of English,
University of Cambridge, and an Associate of Clare Hall, Cambridge. She is
theauthor of Community Politics and the Peace Process in Contemporary
Northern Irish Drama (Peter Lang, 2011) and her articles on
political drama and Irish studies have been published in New Theatre
Quarterly, Etudes Irlandaises, and
Lessing's Nathan the Wise (1779), exemplary for its enlightenment and humanist ideals, assembles Jews, Christians, and Muslims in dialogue during the medieval crusades in Jerusalem. Their encounters allow them to transcend conflict, to recognize their common humanity, and to resolve their differences through dialectical discourse and group arguments. In this article Eva Urban looks closely at the representation of enlightenment in this play and examines the potential role of plays and theatre practice in developing autonomous citizenship and intercultural understanding. Particular reference is made to the 2013 Berliner Ensemble production of Nathan the Wise in relation to aesthetic debates about modern political drama. Eva Urban is a British Academy Postdoctoral Research Fellow at the Faculty of English, University of Cambridge, and an Associate of Clare Hall, Cambridge. She is the author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2010) and has published a number of articles on political drama and Irish studies.
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