bluuebunny/crossref_metadata_2025_split huggingface dataset:
Nivolumab-induced fulminant diabetic ketoacidosis followed by thyroiditis
Authors: Tzoulis Ploutarchos , Corbett Richard W , Ponnampalam Swarupini , Baker Elly , Heaton Daniel , Doulgeraki Triada , Stebbing Justin 
Published: March 2018

Summary
Five days following the 3rd cycle of nivolumab, a monoclonal antibody, which acts as immune checkpoint inhibitor against the programmed cell death protein-1, for metastatic lung adenocarcinoma, a 56-year-old woman presented at the hospital critically ill. On admission, she had severe diabetic ketoacidosis (DKA), as evidenced by venous glucose of 47 mmol/L, blood ketones of 7.5 mmol/L, pH of 6.95 and bicarbonate of 6.6 mmol/L. She has had no personal or family history of diabetes mellitus (DM), while random venous glucose, measured 1 week prior to hospitalisation, was 6.1 mmol/L. On admission, her HbA1c was 8.2% and anti-GAD antibodies were 12 kIU/L (0–5 kU/L), while islet cell antibodies and serum C-peptide were undetectable. Nivolumab was recommenced without the development of other immune-mediated phenomena until 6 months later, when she developed hypothyroidism with TSH 18 U/L and low free T4. She remains insulin dependent and has required levothyroxine replacement, while she has maintained good radiological and clinical response to immunotherapy. This case is notable for the rapidity of onset and profound nature of DKA at presentation, which occurred two months following commencement of immunotherapy. Despite the association of nivolumab with immune-mediated endocrinopathies, only a very small number of patients developing type 1 DM has been reported to date. Patients should be closely monitored for hyperglycaemia and thyroid dysfunction prior to and periodically during immunotherapy.

Learning points:

Nivolumab can induce fulminant type 1 diabetes, resulting in DKA.

Nivolumab is frequently associated with thyroid dysfunction, mostly hypothyroidism.

Nivolumab-treated patients should be monitored regularly for hyperglycaemia and thyroid dysfunction.

Clinicians should be aware and warn patients of potential signs and symptoms of severe hyperglycaemia.
Cold Shock as a Screen for Genes Involved in Cold Acclimatization in Neurospora crassa
Authors: Watters Michael K , Manzanilla Victor , Howell Holly , Mehreteab Alexander , Rose Erik , Walters Nicole , Seitz Nicholas , Nava Jacob , Kekelik Sienna , Knuth Laura , Scivinsky Brianna 
Published: March 2018

Abstract
When subjected to rapid drops of temperature (cold shock), Neurospora responds with a temporary shift in its morphology. This report is the first to examine this response genetically. We report here the results of a screen of selected mutants from the Neurospora knockout library for alterations in their morphological response to cold shock. Three groups of knockouts were selected to be subject to this screen: genes previously suspected to be involved in hyphal development as well as knockouts resulting in morphological changes; transcription factors; and genes homologous to E. coli genes known to alter their expression in response to cold shock. A total of 344 knockout strains were subjected to cold shock. Of those, 118 strains were identified with altered responses. We report here the cold shock morphologies and GO categorizations of strains subjected to this screen. Of strains with knockouts in genes associated with hyphal growth or morphology, 33 of 131 tested (25%) showed an altered response to cold shock. Of strains with knockouts in transcription factor genes, 30 of 145 (20%) showed an altered response to cold shock. Of strains with knockouts in genes homologous to E. coli genes which display altered levels of transcription in response to cold shock, a total of 55 of 68 tested (81%) showed an altered cold shock response. This suggests that the response to cold shock in these two organisms is largely shared in common.
Impulsive Choice in Mice Lacking Paternal Expression ofGrb10Suggests Intragenomic Conflict in Behavior
Authors: Dent Claire L , Humby Trevor , Lewis Katie , Ward Andrew , Fischer-Colbrie Reiner , Wilkinson Lawrence S , Wilkins Jon F , Isles Anthony R 
Published: March 2018

AbstractThe imprinted gene Grb10 is expressed in the brain from the paternal copy only. Here, Dent et al. show that paternal Grb10 regulates impulsive choices, i.e. whether an animal chooses a smaller food reward...Imprinted genes are expressed from one parental allele only as a consequence of epigenetic events that take place in the mammalian germ line and are thought to have evolved through intragenomic conflict between parental alleles. We demonstrate, for the first time, oppositional effects of imprinted genes on brain and behavior. Specifically, we show that mice lacking paternal Grb10 make fewer impulsive choices, with no dissociable effects on a separate measure of impulsive action. Taken together with previous work showing that mice lacking maternal Nesp55 make more impulsive choices, this suggests that impulsive choice behavior is a substrate for the action of genomic imprinting. Moreover, the contrasting effect of these two genes suggests that impulsive choices are subject to intragenomic conflict and that maternal and paternal interests pull this behavior in opposite directions. Finally, these data may also indicate that an imbalance in expression of imprinted genes contributes to pathological conditions such as gambling and drug addiction, where impulsive behavior becomes maladaptive.
Detection of coronary artery disease by reduced features and extreme learning machine
Authors: Singh Ram Sewak , Saini Barjinder Singh , Sunkaria Ramesh Kumar 
Published: March 2018

Objective. Cardiovascular diseases generate the highest mortality in the globe population, mainly due to coronary artery disease (CAD) like arrhythmia, myocardial infarction and heart failure. Therefore, an early identification of CAD and diagnosis is essential. For this, we have proposed a new approach to detect the CAD patients using heart rate variability (HRV) signals. This approach is based on subspaces decomposition of HRV signals using multiscale wavelet packet (MSWP) transform and entropy features extracted from decomposed HRV signals. The detection performance was analyzed using Fisher ranking method, generalized discriminant analysis (GDA) and binary classifier as extreme learning machine (ELM). The ranking strategies designate rank to the available features extracted by entropy methods from decomposed heart rate variability (HRV) signals and organize them according to their clinical importance. The GDA diminishes the dimension of ranked features. In addition, it can enhance the classification accuracy by picking the best discerning of ranked features. The main advantage of ELM is that the hidden layer does not require tuning and it also has a fast rate of detection.Methodology. For the detection of CAD patients, the HRV data of healthy normal sinus rhythm (NSR) and CAD patients were obtained from a standard database. Self recorded data as normal sinus rhythm (Self_NSR) of healthy subjects were also used in this work. Initially, the HRV time-series was decomposed to 4 levels using MSWP transform. Sixty two features were extracted from decomposed HRV signals by non-linear methods for HRV analysis, fuzzy entropy (FZE) and Kraskov nearest neighbour entropy (K-NNE). Out of sixty-two features, 31 entropy features were extracted by FZE and 31 entropy features were extracted by K-NNE method. These features were selected since every feature has a different physical premise and in this manner concentrates and uses HRV signals information in an assorted technique. Out of 62 features, top ten features were selected, ranked by a ranking method called as Fisher score. The top ten features were applied to the proposed model, GDA with Gaussian or RBF kernal + ELM having hidden node as sigmoid or multiquadric. The GDA method transforms top ten features to only one feature and ELM has been used for classification.Results. Numerical experimentations were performed on the combination of datasets as NSR-CAD and Self_NSR- CAD subjects. The proposed approach has shown better performance using top ten ranked entropy features. The GDA with RBF kernel + ELM having hidden node as multiquadric method and GDA with Gaussian kernel + ELM having hidden node as sigmoid or multiquadric method achieved an approximate detection accuracy of 100% compared to ELM and linear discriminant analysis (LDA)+ELM for both datasets. The subspaces level-4 and level-3 decomposition of HRV signals by MSWP transform can be used for detection and analysis of CAD patients.
OBTAINING ADEQUATE SURGICAL MARGIN STATUS IN BREAST-CONSERVATION THERAPY: INTRAOPERATIVE ULTRASOUND-GUIDED RESECTION VERSUS SPECIMEN MAMMOGRAPHY
Authors: Pop Maria Mihaela , Cristian Silviu , Hanko-Bauer Orsolya , Ghiga Dana Valentina , Georgescu Rares 
Published: March 2018

Background and aim. The purpose of breast-conserving surgery (BCS) for women with cancer is to perform an oncological radical procedure with disease-free margins at the final histological assessment and with the best aesthetic result possible. Intraoperative resected specimen ultrasound and intraoperative resected specimen mammography may reduce the rates of positive margins and reexcision among patients undergoing conserving therapy. Our objective is to compare the two methods with the histopathological results for a preset cut off and asses which parameters can influence the positive margin status.Method. A prospective study was performed on 83 patients who underwent breast conservation surgery for early breast cancer (pT1-3a pN0-1 M0) between 2014 and 2016. After excision the specimen was oriented in the operating room by the surgeon. Metallic clips and threads were placed on margins: one clip and the long thread at 12 o'clock, two clips and the short threads at 9 o'clock. The next step was intraoperative ultrasound assessment of the specimen. For the margins under 2 mm we performed selective margin shaving, followed by mammography to identify and document the lesion and finally histopathological examination of the specimen with reporting the gross and microscopic margins. The positive margins required re-excision or boost of radiation at the posterior or anterior margins, depending on the case.Results. We set a cut-off at 2 mm. The sensitivity and specificity of the intraoperative margin assessment via the ultrasound method were 90.91% (95% CI 70.84-98.88%) and 67.21% (95% CI 54-78.69%) respectively. The sensitivity and specificity of the intraoperative margin assessment via the mammographic procedure were 45.45% (95% CI 24.39-67.79%) and 85.25% (95% CI 73.83-93.02%) respectively. There was positive correlation between the histopathological and intraoperative ultrasound exam (p=0.018) and negative correlation between the histopathological exam and the post-operative mammographic exam (p=0.68). We found a positive correlation between the positive margin status and age (<40), preoperative chemotherapy, intraductal carcinoma, inflammatory process around the tumor, and the immunohistochemical triple negative profile.Conclusions. According to our results, the intraoperative ultrasound of the breast specimen for a cutt-off at 2 mm can decrease the rates of margin positivity compared to the mammographic procedure and has the potential to diminish the number of subsequent undesired re-excisions.
A szobafestő szerződése Fabricius Jakab Ignác Edelényben (1780), Johann Binnerth és Joseph Lerch Márkusfalván (1788, 1792)
Authors: Jávor Anna 
Published: March 2018

A growing number of 18th century ornamental wall paintings have been explored and published in country houses and burgher’s dwellings. They are never signed, the painters are usually anonymous. A few archival documents, contracts that may be associated with such assignments are presented now.
Jakab Ignác Fabricius of Miskolc signed a contract with Countess Ludmilla Forgách to decorate a room and correct the decoration of another in Edelény in 1780. Since the contiguous figural decoration of the walls of six rooms of this mansion has been attributed to Ferenc Lieb (on the basis of a contract of 1769 and other works of his), the purely ornamental decor of the seventh room in the western wing of the mansion might have been the work of Fabricius, who was the son-in-law of Lieb, by the way. Other painters and gilders were at work in Edelény, too: the Latin contract of János Voronieski dated 1765 also covers the ornamental decoration of a room, the presence of István Nits, painter from Eger in 1768 suggests a similar assignment, which were later painted over by Lieb’s murals of rococo figural scenes in 1769–1771.
The rococo reconstruction, extension and decoration of the Máriássy mansion complex at Márkusfalva (Markušovce) took place under the guidance of Farkas Máriássy from the 1770s. The surviving 73 contracts of the work are known from earlier publications, including the contract of 1788 with Johannes Binnerth, a painter from Igló (Spíšská Nová Ves), for the free-handed painting of flowers after sketches. The five smaller and two bigger rooms at issue were in the lateral building to the right (now in ruins). Binnerth’s achievements as a painter and drawing teacher, and his son’s similar ambitions were praised in the press as later as in 1813, too. The Catholic painter who died at the age of 64 in 1814 is documented in the Spíš town from 1783, but his works are not known.
Slovakian research literature has explored the oeuvre of Joseph Lerch (1751–after 1828), Lőcse (Levoča)-based painter born at Szepesszombat (Spíšská Sobotá). His neoclassical late baroque frescoes were signed in the country house at Dobó (Dubavica) and the parish church of Liptóújvár (Liptovský Hrádek); altarpieces and portraits are known by him, in 1804 he was contracted to paint a picture on the curtain of Kassa (Košice) theatre. The widow of Ferenc Máriássy commissioned him in 1792 to decorate five rooms, but in view of the price and Lerch’s known works, this work might have been figural. The decoration was completed, but it has no trace at Márkusfalva; the fresco of the roadside chapel of St John Nepomucene was earlier attributed to him, while the higher quality mythological scenes painted on the walls of the garden pavilion of the mansion („Dardanelles”) still await attribution.
„Sola scriptura” az aszódi Podmaniczky-kastély dísztermének kifestése és ikonográfiai programja az evangélikus erénytanok összefüggésében
Authors: Serfőző Szabolcs 
Published: March 2018

The Podmaniczky Mansion in Aszód was built in 1727– 1730 by János Podmaniczky (1691–1743). In 1767–1772 the building was extended by his sons, János (1716–1786) and Sándor (1723–1786), who resided with their families in the eastern and western wing of the mansion.
In 1776 Sándor Podmaniczky commissioned Johann Lucas Kracker and his assistant, Joseph Zach, specialised in trompe l’oeil architectural painting to fresco the ceremonial hall of the mansion, located at the southern end of the western wing. The ceiling painting features in the centre the allegorical female figure, a Justifying Faith (fides iustificans), holding the Holy Script with the inscription Sola scriptura. She is surrounded by allegories of different virtues, such as Divine Mercy (Caritas Dei), Humility, Generosity, Hospitality, Temperance, Self-restraint and Right Judgement. On the right of the ceiling the female figure of Wisdom is to be seen striking down the Vices. In the four corners of the ceiling further four virtue-allegories are located: Honesty, Fame, Diligence and the Love of Virtues.
The moralizing programme of the vivid ceiling painting is accompanied by grisaille, statue- and relief-like representations on the sidewalls. The illusionistic statues of Seneca and Alexander the Great represent two classical virtues: wisdom and heroic pugnacity. On the longer walls of the hall four illusionistic busts of four Classical deities (Jupiter, Neptune, Pluto and Ceres) represent the four elements. Above them relief-like mythological scenes are to be seen: two episodes from the youth of Bacchus, the story of Apollo and Daphne and finally the contest of Apollo and Pan.
The complex, moralizing iconographic programme conveyed by the wall and ceiling paintings can be interpreted in the context of the Lutheran ethics, as the com missioner himself was of Lutheran confession. Lutheran teachings on ethics have fundamentally differed from the scholastic doctrine on theological and cardinal virtues and have defined a different canon of virtues. This Lutheran virtue’s canon is reflected in the iconography of the ceiling painting to a large extent. The Olympic deities and mythological scenes featuring on the side walls symbolise the material world, as opposed with the spiritual sphere represented by the virtue-allegories on the ceiling. The overall message of the paintings is that living a pious, virtuous life, conducted by faith, avoiding vice and exercising self-restraint leads the soul to heaven, in harmony with the Lutheran doctrine of justification.
A nyírbátori stallum (1511)
Authors: Mikó Árpád 
Published: March 2018

From the Calvinist church of Nyírbátor (dedicated to St George in the Middle Ages) the Hungarian National Museum purchased the monumental stalls of a total of 48 seats in 1933. The two parts – both defective – were set up along the northern and southern walls of the church. The dissembled elements of the first rows of the seats were stored in the sanctuary. From the two incomplete stall wings one complete set of choir-stalls was assembled by transferring the marquetry dorsal panels from the southern wing to the northern wing and the original two-row stalls was thus reconstructed. The northern choir-stalls are still part of the permanent historical exhibition of the National Museum, while the incomplete southern stalls are on display in the Báthory István Museum in Nyírbátor. Following the reconstruction work with attention in the Museum, Magda Oberschall Bárány wrote a monograph of the stalls (1938), describing their ideal state, without discussing the structural questions. Important points in the history of the stalls are still unknown. It is not known since when they had been in the Calvinist church, and a more puzzling question is what the function of such a monumental construction was in the parish church of a small country town. The first mention of the stalls dates from the early 18th century. They were repaired a few times over the 19th century at the end of which nascent art historiography also discovered them. The idea of transferring them to a museum was raised several times.
The inscription says the stalls were commission in 1511 by three Báthory brothers: István, György and András, all three actors in the political elite of the late medieval Hungarian kingdom. (Their father András I [†1497] was the brother of the voivode of Transylvania and lord chief justice István II [†1493] and of Miklós I, the humanist bishop of Vác [†1506].) Nearly all elements of the canopied stalls are covered with ornamental carvings, the dorsal panels of the back row being adorned with inlaid designs. The latter include ornamental compositions, allegorical scenes, and illusionistic depictions of half-open cabinets with books and ritual objects on the shelves. Among the marquetry designs are the panels with the Báthory coats of arms and the inscription about the origin of the stalls. On account of the all’antica motifs, the perspectivic trompe l’oeil compositions and the high quality of the whole work the choir-stalls of Nyírbátor are on a par with the finest Italian stalls of the period. They were probably made by Italian masters working in Buda. The – presumed – Hungarian specimens of the kind have perished; the only stalls whose stylistic elements are in kinship with the stalls at issue are the early 16th century stalls in Zagreb cathedral. There is written evidence that a set of the stalls in Zagreb cathedral (1507) was made by Johannes Nicze Florentinus, who also worked in Pest. Despite several attempts, so far no name can be associated with the stalls of Nyírbátor.
A pécsi püspökség festészeti gyűjteménye. Művek a 16–19. századból
Authors: Buzási Enikő 
Published: March 2018

The author presents some findings of the first inventorization of the painting collection in the episcopal palace in Pécs carried out in 2012: out of the inventoried 238 paintings, she publishes 134 in catalogue form until the end of the 19th century. These are the works of the collection that have adequate artistic quality, art historical significance or historical implications (awaiting further research as well). A great part of the collection has so far been unpublished, lacking name of painter, date of making, and often even accurate definition of the theme. The present publication arranging the items into historical and thematic units wishes to stop this gap, with the provenance of the pictures also given or suggested where there are sufficient clues for research. A considerable portion of works in the Pécs palace do not belong to the 18th, early 19th century furnishings of a bishop’s residence (Pécs, Mecseknádasd, Mohács). There are very many paintings removed from ecclesiastical function; they derive from the 19th century equipment of the church prior to the 1882 reconstruction, from the old chapel of the bishop’s palace, from the seminary chapel, and the monasteries of Franciscans, Sisters of Mercy or the nuns of Notre Dame. Several works were bequests or deposits from secular loci after World War II. A few were purchased from the art trade in the late 19th-early 20th century, first of all to decorate the palace. In addition to the inventorization of the stock and the dates of individual works, these conclusions could be inferred from three inventories of the equipment of the episcopal palace taken in 1777 and 1778 (after bishop György Klimó’s death) and in 1838 (after bishop Ignác Szepesy’s death), also used for the processing of the stock. In general it can be concluded that when issuing a commission, the choice was evidently the artists’ circle of the Viennese court from the baroque period and later of the Academy, and the acquisitions from the art trade later were also mostly of Viennese origin.
The catalogue is divided as follows: I. Portraits of ecclesiastic persons; II. Acquisitions and commissioned works of bishop György Klimó; III. Acquisitions and commissioned works of bishop Pál László Esterházy; IV. Commissioned works of bishop János Scitovszky and works from the 19th century equipment of the cathedral; V. Acquisitions and commissioned works of bishop Nándor Dulánszky; VI. Works that came into the episcopal palace after World War II; VII. Works of unknown provenance; VIII. Copies of pictures with miraculous powers; IX. Variants of copies from the 18th century and artistic replicas from the 19th century.