bluuebunny/crossref_metadata_2025_split huggingface dataset:
Time to Reset the Definition of Successful Revascularization in Endovascular Treatment of Acute Ischemic Stroke
Authors: Carvalho Andreia , Rocha Mariana , Rodrigues Marta , Gregório Tiago , Costa Henrique , Cunha André , Castro Sérgio , Veloso Miguel , Ribeiro Manuel , Barros Pedro Jorge Gonçalves 
Published: July 2018

<b><i>Background:</i></b> A 2013 consensus statement recommended the use of the modified Treatment In Cerebral Ischemia (mTICI) scale to evaluate angiographic revascularization after endovascular treatment (EVT) of acute ischemic stroke due to its higher inter-rater agreement and capacity of clinical outcome prediction. The current definition of successful revascularization includes the achievement of grades mTICI 2b or 3. However, mTICI 2b grade encompasses a large heterogeneity of revascularization states, and prior studies suggested that the magnitude of benefit derived from mTICI 2b and mTICI 3 does not seem to be equivalent. In a way to restrain the referred heterogeneity, Goyal et al. [J Neurointerv Surg 2014; 6: 83–86] proposed a revised mTICI scale that includes a 2c grade (rTICI). <b><i>Methods:</i></b> Retrospective analysis of prospectively collected data from consecutive cases of EVT for anterior circulation large-vessel occlusion, performed between January 2015 and July 2017. Patients with mTICI 2b or 3 grades were reclassified according to the rTICI scale, and the outcomes between the 3 revascularization grades (rTICI 2b, 2c, 3) compared. <b><i>Results:</i></b> Our study population of 226 patients (64 rTICI 2b, 30 rTICI 2c, 132 rTICI 3) has a mean age of 71 years, 48.2% males, median baseline NIHSS of 16 (13–19) and ASPECTS of 8 (7–9). The 3 revascularization grades are represented by homogeneous populations. Logistic regression analysis showed statistically significant higher rates of functional independence at 3 months (65.9 vs. 50.0%; adjusted OR 0.39, 95% CI 0.18–0.86), with lower rates of mortality (8.3 vs. 15.6%; adjusted OR 3.54, 95% CI 1.14–10.97) and intracranial hemorrhage (ICH) in rTICI 3 than 2b groups. When comparing rTICI 3 with 2c groups, there were only statistically significant differences in the total ICH rate (8.3 vs. 26.7%; adjusted OR 7.08, 95% CI 1.80–27.82) but not in symptomatic ICH. <b><i>Conclusions:</i></b> These results corroborate the scarce prior findings suggesting that patients with rTICI 2c grade should be reported separately, since they have similar outcomes to rTICI 3, and better than rTICI 2b patients. Therefore, we suggest resetting the angiographic revascularization endpoint to perfect revascularization (rTICI 2c or 3 grades), a target that neurointerventionalists should strive to achieve.
Quality Assessment of the Clinical Practice Guideline for Tympanostomy Tubes in Children
Authors: Sturm Joshua J. , Huyett Phillip , Shaffer Amber , Kitsko Dennis , Chi David H. 
Published: July 2018

ObjectivesTo determine the association between the introduction of statements 6 and 7 in the 2013 clinical practice guideline (CPG) for tympanostomy tubes in children and the identification of preoperative middle ear fluid (acute otitis media / otitis media with effusion [AOM/OME]) in children undergoing bilateral myringotomy and tube (BMT) placement.Study DesignCase series with chart review.SettingTertiary care children's medical center.Subjects and MethodsPatients who underwent BMT for recurrent AOM were retrospectively reviewed. We examined 240 patients before (BG; 2012) and 240 patients after (AG; 2014) the introduction of the CPG.ResultsThe baseline characteristics of the 2 groups were comparable. The total annual number of BMT placements performed at our institution decreased from 3957 (BG) to 3083 (AG). There was no significant increase in the rate of preoperative AOM/OME identification following CPG introduction (BG 78.3% vs AG 83.3%, P =. 164). The rate of identification of AOM/OME in the operating room (OR) increased from 54.2% (BG) to 71.3% (AG, P <. 001). The rate of identification of AOM/OME both in the clinic and in the OR increased from 55.1% (BG) to 71.3% (AG, P <. 001). Cases with concordant clinic and OR AOM/OME occurred among younger children (P =. 045), those with fewer episodes of AOM (P =. 043), and those with shorter time between the clinic and OR dates (P =. 008).ConclusionsFollowing the introduction of the CPG, there was no change in the rate of identification of AOM/OME prior to recommending BMT placement in children with recurrent AOM. The lack of improved compliance with statements 6 and 7 may be related to multiple clinician‐ and patient‐derived factors.
‘Is it like a beat without a melody?’: Rap and revolution in Hamilton
Authors: Severs Jeffrey 
Published: July 2018

Abstract

Hamilton (2015) celebrates rap as the discursively dense, incandescent language of American revolution, democracy and individuality, but the musical also, in its tragic course, portrays rap’s limits, especially when post-revolutionary problems of governance and family life arise. In giving these dual fates to the show’s central musical language, creator Lin-Manuel Miranda draws on the history of hip hop in general and gangsta rap in particular, offering an implicit critique of vengeful violence through allusions to the allegedly linked murders of Tupac Shakur and Notorious B.I.G. In its close readings of lyrics, this essay focuses on Alexander and Philip Hamilton and John Laurens and draws connections between these characters’ development and Miranda’s use of abolitionist and revolutionary history. The essay also explores the show’s many allegorical attempts to link positions on the political spectrum with different styles of music, from pop and jazz to the increasingly intricate rhyme schemes of hip hop.
Rise up: Nuyorican resistance and transcultural aesthetics in Hamilton
Authors: Mayora Gabriel 
Published: July 2018

Abstract
Based on author and composer Lin-Manuel Miranda’s cultural background as a New York-born Puerto Rican (i.e. Nuyorican) artist, this article develops a reading of Hamilton as a transcultural Nuyorican text. As part of this process, the article contextualizes Hamilton in relationship to the United States’ history of colonialism in Puerto Rico, showing how this history has informed the representation of Puerto Rican cultural identity on Broadway and in the US popular consciousness as subordinate to and distinct from hegemonic US nationalism. By analysing Miranda’s deployment of Broadway musical conventions alongside Nuyorican cultural aesthetics, the article argues for a reading of Hamilton as a site of resistance against the imperialist appropriation and subjugation of Puerto Ricans and Puerto Rican culture on Broadway.
Hamilton’s women
Authors: Wolf Stacy 
Published: July 2018

Abstract
This article explores the female characters in Hamilton and argues that the musical puts women on the sidelines and relegates them to the most obvious and time-worn stereotypes of wife, muse and whore. Hamilton’s cleverness, its engaging music and vibrant energy, and its occasional nod to the societal constraints experienced by women seduce spectators into looking away from the musical’s own demeaning representation of women. This article analyses the characters of Eliza, Angelica and Maria through their musical numbers and choreography and their function in the story. It tracks each woman’s journey through the narrative and her relationship to Hamilton and her purpose in his life. In the end, I argue that Eliza’s being given the last word in the musical, with the actor who plays her standing centre stage, does not compensate for her limited and stereotypical role through the show.
Blackout on Broadway: Affiliation and audience in In the Heights and Hamilton
Authors: Sáez Elena Machado 
Published: July 2018

Abstract
Lin-Manuel Miranda’s In the Heights (2008) and Hamilton (2015) find their inspiration in a generative conflict between individualism and community, freedom and property, whiteness and blackness, and empathy and complicity. The contradictory thematic pressures organizing Miranda’s musicals are the product of a complex negotiation with the institution of Broadway and its historic (mis)representation of people of colour. The musicals ambivalently balance a counter-narrative to a history of stereotype on the Broadway stage with the goal of convincing the predominantly white, highly educated tourists in attendance that the other is one of us. The musicals showcase different sets of Others and therefore have divergent goals in educating the audience, with In the Heights focused on countering stereotypes of Latinx criminality and Hamilton on affirming the immigrant’s centrality to the American nation. Nevertheless, both musicals display an ambivalence about the efficacy of the affective strategies used to educate the spectator. The stories of In the Heights and Hamilton share an investment in private property as a defining facet of the American Dream and, by extension, national belonging. At the same time, both musicals are fractured by an anxiety about the terms of such belonging, namely, who is silenced or excluded. The themes of acquisition and dispossession in terms of property ownership are fractured by the constant plea for forgiveness, for who gets sacrificed by the purportedly free market in order to facilitate the upward mobility of the rest.
Staging a revolution: The cultural tipping points of John Gay and Lin-Manuel Miranda
Authors: Brooks Tiffany Yecke 
Published: July 2018

Abstract
This study examines the significance of both John Gay and Lin-Manuel Miranda’s most famous works, where the form is as essential to telling the story as is the story itself, and conventional racial and gender restrictions are defied as a matter of rhetoric. Utilizing working-class music forms as well as the similarly pedigreed, boundary-defying characters of Macheath and Hamilton, Gay and Miranda redefine performance, poetics, patriotism and cultural power. Hamilton follows in the tradition of The Beggar’s Opera (1728) and Polly as a tipping point in cultural history by which subcultures may challenge and reshape prevailing understandings of performance, identity and national mythology.
Miranda’s Les Miz
Authors: Magee Jeffrey 
Published: July 2018

Abstract
‘I really got my Les Miz on in this score, like being really smart about where to reintroduce a theme’, noted Lin-Manuel Miranda soon after Hamilton’s off-Broadway opening in early 2015. Indeed, both in its techniques of thematic recurrence and in its continuous musicalization, Miranda’s approach follows his acknowledged model. Yet, Les Misérables more deeply pervades Hamilton’s dramaturgy than even Miranda has noted, as can be seen in several remarkable parallels between plot, characters and dramatic structure. Taken together, these and other analogies between the shows suggest that Hamilton retraces the dramatic and emotional arcs of Les Misérables, which Miranda has described as one member of the ‘Holy Trinity’ of Broadway shows.
Hamilton meets hip-hop pedagogy
Authors: Dobrick Alison 
Published: July 2018

Abstract
The fact that Hamilton’s music expresses history largely through hip-hop verse only scratches the surface of its potential impact to change the lives and perspectives of today’s students. Teachers all over the country have engaged in interdisciplinary, meaningful, personal and curriculum-based work based on Hamilton. More than just a source of highly entertaining rap songs about American history, Hamilton provides powerful opportunities to apply the practices and philosophies of the flourishing field of hip-hop pedagogy. This article explores compelling possible links between Hamilton and hip-hop pedagogy. A brief overview of hip-hop culture and the development of hip-hop pedagogy, including roots, values and aims, provides background for three standards-based activities for high school students.
‘Hey yo, I’m just like my country’: Teaching Miranda’s Hamilton as an American chronicle
Authors: Viator Timothy J. 
Published: July 2018

Abstract
The article discusses teaching the libretto of Miranda’s Hamilton as a uniquely American text (to undergraduate literature students in the United States). It details approaching the rap opera as a clash of ideologies known as versions of the American Dream. It touches upon genre distinctions from chronicle play (as adaptation), to the adversarial plot, to the American immigrant narrative.
Lin-Manuel Miranda and the metamyth of a nation’s founding
Authors: Whall Helen M. 
Published: July 2018

Abstract
This article discusses how Miranda distinguishes among the truth claims made by myth, legend and history. In Hamilton, he dramatizes how the founding myth meant to assure a nation’s greatness can actually limit a nation’s future. Having identified and critiqued the conventions of myth, Miranda makes self-conscious use of those elements in order to rewrite the story of America’s founding. He presents a ‘metamyth’ meant to prefigure an America that might fully embrace equality for all.
‘What if this bullet is my legacy?’: The guns of Hamilton
Authors: Conti Meredith 
Published: July 2018

Abstract
This article explores the material and metaphorical uses of firearms in Hamilton: An American Musical. From the chaotic depictions of Revolutionary War armed combat to the ritualized triptych of duels, Hamilton’s plot pivots around the conspicuous foregrounding of guns and gunplay as instruments of war and conflict resolution, but also as deliverers of social prestige, politico-cultural leverage and even American immortality. This article also interrogates the firearm’s influence on the musical’s signature rhythms, gestures and metaphors, as well as contemplates the ways Hamilton both confirms and resists gendered and raced tropes imbedded within American gun culture.
Hamilton and class
Authors: Sekellick Matthew Clinton 
Published: July 2018

Abstract
Using an intersectional Marxist analysis, this brief article surveys issues of, and related to, class in Lin-Manuel Miranda’s hit musical Hamilton, including questions of aesthetics, race, narrative, politics and history, as well as how class impacts access to the musical. Sekellick argues that, through its use of hip hop and colour-conscious casting, Hamilton deploys the affects and aesthetics of people of colour, as well as of revolution, to give an otherwise conservative bootstraps narrative about a white founding father a progressive feeling sheen. The author reads Hamilton as a neo-liberal version of America’s founding myths, a retelling of the American dream to suit diversified capitalist and political classes.
A conversation rewound: Queer and racialized temporalities in Hamilton
Authors: Inayatulla Shereen , Silva Andie 
Published: July 2018

Abstract
The authors of this article, two educators and immigrants situated in the United States, consider the exigencies of listening to Hamilton: An American Musical. Shaped as dialogue, this article follows a previous piece where the authors processed their experience seeing Hamilton performed live. The current conversation shifts to the act of listening; it examines the ways in which the soundtrack embeds the audience into Lin-Manuel Miranda’s narrative, reinscribing the racialized immigrant body onto both Alexander Hamilton’s story, and Hamilton, the musical. Additionally, this article asks how the fictional Hamilton’s message to rise up and take a shot grants audience members a sense of agency and compels them to become present/future protagonists of a political story that seeks to write them off.
Book Reviews
Authors: Clum John , Jubin Olaf , Laird Paul R. 
Published: July 2018

Abstract

Something Wonderful: Rodgers and Hammerstein’s Broadway Revolution, Todd S. Purdum (2018)
New York: Henry Holt, 386 pp.,
ISBN: 162779834X, h/bk, $32.00

Must Close Saturday: The Decline and Fall of the British Musical Flop, Adrian Wright (2017)
Woodbridge: The Boydell Press, 351 pp.,
ISBN: 9781783272358, h/bk, ca. £20.95

Broadway Rhythm: Imaging the City in Song, Dominic Symonds (2017)
Ann Arbor, MI: The University of Michigan Press, 312 pp.,
ISBN: 9780472130597, h/bk, $80.00
Sartre, Sartre and the biographical bande dessinée
Authors: Benjamin Elizabeth 
Published: July 2018

Abstract
Biographical comics, graphic novels and bande dessinée (BD) are often seen as ‘stepping stones’ or points of entry into a subject, particularly those of literary or philosophical figures. This article seeks to demonstrate the ways in which this might be disproven by considering the verbo-visual works alongside the theories of their subjects, thus highlighting the former’s role as both independent of, and an extra layer upon, the latter. Building on a study of recent trends in comics and Comics Studies, specifically upon the work of Maaheen Ahmed in the idea of openness in comics, and taking into account classical explorations of comics theory (Groensteen 1987), this article will outline the relationship between Existentialism and comics through the biographical BD, specifically Sartrian theory and Mathilde Ramadier and Anaïs Depommier’s 2015 Sartre. Through its close analysis of verbo-visual relations and issues of representation the article will assess the possibility of using Sartre’s philosophy in conjunction with Sartre to assert the relevance of the medium of the (biographical) BD. Beyond this, I will use the example of Sartre and Sartre to posit that the creation of philosophical and literary biographical BDs can be used to inject philosophy into the medium itself, thus contributing to the notion of a ‘theory of comics’.
Reciprocal realities: Dana Walrath’s Aliceheimer’s and the Wonderland approach to dementia
Authors: Chidgey Michael 
Published: July 2018

Abstract
This article looks at Dana Walrath’s Aliceheimer’s: Alzheimer’s through the Looking Glass, a recent instalment of the Graphic Medicine book series. The significance of Walrath’s work for questions regarding dementia and sociality is assessed. Walrath’s attitude towards her mother Alice’s dementia is read against Arthur Frank’s theory of illness narratives. In the second edition of his text The Wounded Storyteller ([1995] 2013), Frank introduces the category of ‘broken narratives’ into his analytical taxonomy. Frank understands a broken narrative perspective to be a subject position characterized by a condition that inhibits the subject’s ability to narrate their illness experience. The ability of Frank’s framework to engage with the dementia subject’s broken narrative position in a remedial capacity is criticized, and Walrath’s narrative theory (termed ‘the Wonderland approach’) is championed as an alternative, superior approach to the broken narrative situation of dementia. The article goes on to engage critically with Walrath’s previously un-theorized artwork. The formal composition of Walrath’s graphic vignettes is shown to be emblematic of the theory undergirding her book. Walrath’s art accommodates readings by ill people and well people alike, at once illustrating and demonstrating the patient/carer relationship she champions. This analysis supports the core claims of the Graphic Medicine movement and suggests that comics can be effectively deployed in the effort to tackle the problematic of dementia and sociality.
Reviews
Authors: Admirand Peter , Murel Jacob 
Published: July 2018

Abstract
Frank Miller’s Daredevil and the Ends of Heroism, Paul Young (2017) New Brunswick, NJ: Rutgers University Press, 292 pp., ISBN: 9780813563817, p/bk, $28
The Narratology of Comic Art, Kai Mikkonen (2017) New York: Routledge, 300 pp., ISBN: 978113822150, h/bk, $140.00
Film, photographs and saccades: Richard Outcault’s experiments with the comic strip gutter in the Yellow Kid
Authors: Schuldiner Michael , Rosaler Ruth 
Published: July 2018

Abstract
Although Richard Outcault’s Yellow Kid comic strip originally had no partitions between scenes, he soon began experimenting with use of empty space and different types of partition. When he began to use full gutters in Yellow Kid, they functioned differently than they had in the comic strips drawn in his previous comics. Based upon Outcault’s known familiarity with the new developments in the creation and projection of motion pictures, we argue here that, originally, Outcault intended in Yellow Kid strips to produce an effect comparable to the ‘moving pictures’ that we see today. However, he eventually came to realize the advantages of using a series of still photographs as the model for his comic strips, especially in shorter sequences of five to nine pictures. This realization was roughly simultaneous with the translation into English of important discoveries in eye movement. The discovery of the saccade, in particular, supported the view that a strip of photos, intended to be viewed in a series, is processed as seamlessly by the mind as a motion picture film strip. We postulate that Outcault’s eventual uniform adoption of full gutters might have been influenced by this contemporary shift in the understanding of visual perception.
‘A cross burning darkly, blackening the night’: Reading racialized spectacles of conflict and bondage in Marvel’s early Black Panther comics
Authors: Peppard Anna F. 
Published: July 2018

Abstract
All superheroes embody cultural messages and negotiate cultural conflicts. Yet black bodies, introduced to the New World as property and rigorously and often violently regulated by interconnected cultural and institutional forces ever since, have always occupied an especially vexed place in American culture. While all superheroes face repeated threats to their physical integrity, America’s first black superhero, Marvel’s Black Panther, created in 1966 by Stan Lee and Jack Kirby, faces the specific – and specifically risky – challenge of performing black embodiment without succumbing to the stereotypes of black embodiment, most notably the stereotype of black bodies being more bodily (re: more violent, more sexual, more animalistic) than white bodies. This article argues that although Black Panther’s early appearances in The Fantastic Four (1961–present), The Avengers (1963–present) and his first solo series, Jungle Action Featuring: The Black Panther (McGregor et al. 1973–76) exploit the superhero genre and comic book medium’s propensity for fantasy and iconic imagery to envision a blackness that is beautiful and liberating, depictions of Black Panther’s conflicts with racialized supervillains and animals as well as his routine depiction within gratuitous spectacles of suffering and bondage demonstrate a simultaneous – and occasionally overwhelming – tendency to appropriate the black body in the service of white desires and anxieties. Ultimately, this article asserts that Black Panther’s early stories prove both the power of comic book images and the danger of that power for subjects who are still fighting an uphill to be seen without being reduced to their visibility.
Illustrating Tipitip bubblegum comics in Turkey: Transformation, outreach, humour and literacy engagement
Authors: Dinç Betül Gaye , Alaca Ilgım Veryeri 
Published: July 2018

Abstract
This work makes an overview of the evolution of Tipitip bubblegum comics in Turkey, studying its impact on society especially on children for more than four decades. Besides its colourful and positive characteristics, Tipitip comics fostered optimism intertwined with wit tailor made for the Turkish audience at the time. Tipitip not only presented accessible visuals for its audience but also introduced rich content ranging from sports to opera, occupations to traffic, transmitting valuable visual information in each illustration. Tipitip, promoted as ‘your cheerful friend’, was not only a father figure but also an enthusiast, an adventurer and an inventor as he is seen in many roles, from a conductor to a waiter, from a scout to a drummer, which made these comics inclusive and modern. The Tipitip bubblegum comics, similar to their contemporaries, achieved more than just market success; they benefited their audience, especially children, by reaching even small towns and initiating literary engagement.