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  • Resistant starch supplementation increases crypt cell proliferative state in the rectal mucosa of older healthy participants
  • Fiona C. Malcomson, Naomi D. Willis, Iain McCallum, Long Xie, Arthur C. Ouwehand, Julian D. Stowell, Seamus Kelly, D. Michael Bradburn, Nigel J. Belshaw, Ian T. Johnson, John C. Mathers
  • Journal: British Journal of Nutrition / Volume 124 / Issue 4 / 28 August 2020
  • Published online by Cambridge University Press: 13 April 2020, pp. 374-385
  • Print publication: 28 August 2020
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    There is strong evidence that foods containing dietary fibre protect against colorectal cancer, resulting at least in part from its anti-proliferative properties. This study aimed to investigate the effects of supplementation with two non-digestible carbohydrates, resistant starch (RS) and polydextrose (PD), on crypt cell proliferative state (CCPS) in the macroscopically normal rectal mucosa of healthy individuals. We also investigated relationships between expression of regulators of apoptosis and of the cell cycle on markers of CCPS. Seventy-five healthy participants were supplemented with RS and/or PD or placebo for 50 d in a 2 × 2 factorial design in a randomised, double-blind, placebo-controlled trial (the Dietary Intervention, Stem cells and Colorectal Cancer (DISC) Study). CCPS was assessed, and the expression of regulators of the cell cycle and of apoptosis was measured by quantitative PCR in rectal mucosal biopsies. SCFA concentrations were quantified in faecal samples collected pre- and post-intervention. Supplementation with RS increased the total number of mitotic cells within the crypt by 60 % (P = 0·001) compared with placebo. This effect was limited to older participants (aged ≥50 years). No other differences were observed for the treatments with PD or RS as compared with their respective controls. PD did not influence any of the measured variables. RS, however, increased cell proliferation in the crypts of the macroscopically-normal rectum of older adults. Our findings suggest that the effects of RS on CCPS are not only dose, type of RS and health status-specific but are also influenced by age.

  • 13 - Vertige!: Debussy, Mallarmé, and the Edge of Language
  • from Part Three - History and Hermeneutics
  • Edited by François de Médicis, Steven Huebner
  • Book: Debussy's Resonance
  • Published by: Boydell & Brewer
  • Published online: 27 July 2019
  • Print publication: 31 December 2018, pp 366-392
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    Summary

    Trois poèmes de Stéphane Mallarmé

    In 1913, nearly twenty years after composing the Prélude à l'après-midi d'un faune, Debussy returned to the poetry of Stéphane Mallarmé in search of song texts. All three of the poems he chose have something to do with the nothingness of thin air. Each suggests a rhythmic movement of the air: the breathing in and out of a sigh (Soupir), the waving back and forth of a fan (Éventail) and, in the middle of the triptych, the words of a lover who knows their futility even as he speaks (Placet futile). Not only do these poems evoke the movement of air, each draws attention to itself as an object made of air, a poetic conceit to which Debussy responds with music preoccupied with its own evanescence. These late settings of Mallarmé thus reflect upon an aesthetic principle that shapes Debussy's music as a whole, offering, in exemplary and exquisite miniature, a musical counterpart to Mallarmé's poetry, acts of saying that draw attention to the “nothing” of which they speak so eloquently (for the poems and their translations, see appendix 13.1).

    The first song of Debussy's set is “Soupir.” Mallarmé's poem consists of a single sentence, rising and falling like the inhalation and exhalation of breath that it suggests. It is shaped around a central axis, a transformative moment of reversal marked by the repetition of the phrase “vers l'Azur” which ends the first half of the poem (lines 1–5) and begins the second (lines 6–10). This key moment is reinforced by the punctuation (an exclamation point followed by a dash), which introduces a hiatus but, at the same time, carries one half of the poem into the next. The highpoint of the poem's trajectory is thus marked by a momentary silence and suspension of motion. As Marie Rolf demonstrates in her detailed study of this song, the reflective symmetry of Mallarmé's poetic arc is manifest at both a structural and semantic level. The rhythm and enjambment of the two halves, flowing toward and away from this central point of repetition, reinforces the poetic imagery itself, which hinges on the idea of rising and falling.

Transformations of Musical Modernism
  • Transformations of Musical Modernism
  • Edited by Erling E. Guldbrandsen, Julian Johnson
  • Published online: 05 November 2015
  • Print publication: 26 October 2015
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    Profound transformations in the composition, performance and reception of modernist music have taken place in recent decades. This collection brings fresh perspectives to bear upon key questions surrounding the forms that musical modernism takes today, how modern music is performed and heard, and its relationship to earlier music. In sixteen chapters, leading figures in the field and emerging scholars examine modernist music from the inside, in terms of changing practices of composition, musical materials and overarching aesthetic principles, and from the outside, in terms of the changing contextual frameworks in which musical modernism has taken place and been understood. Shaped by a 'rehearing' of modernist music, the picture that emerges redraws the map of musical modernism as a whole and presents a full-scale re-evaluation of what the modernist movement has all been about.
  • Editorial: Twentieth-Century Music – Ten Years On
  • ROBERT ADLINGTON, JULIAN JOHNSON
  • Journal: Twentieth-Century Music / Volume 11 / Issue 1 / March 2014
  • Published online by Cambridge University Press: 16 May 2014, pp. 3-5
  • Print publication: March 2014
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