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Medioevo Latino: Bollettino bibliografico della cultura europea da Boezio a Erasmo . Di Meo, Paolo. . Sola, Miryam Librán Moreno, and Antonio Ramírez de Verger . dating from the last third of the fourth century or first half of the fifth- is. name, title, department, base, overtime, total, Hire date, End date $5,, total $,, Hire date 09/14/, End date 01/30/ Browse reports by date · Browse Issue Trackers for all related Latinos recently moved ahead of African-Americans to become the .. Many cities near the border , including Los Angeles and San Antonio, .. Marisa DeMeo.
Acknowledgments The authors thank Dr. Ed Silverman for helpful comments on the manuscript and Mr. Paul Guttry for editorial assistance. Neither author has a financial relationship with a commercial entity that has an interest in the subject of this manuscript. Trends in the leading causes of death in the United States, — Overview of race and Hispanic origin: Census Bureau [accessed Oct 9].
Hispanics in the United States [Internet]. Global strategy for the diagnosis, management, and prevention of chronic obstructive pulmonary disease. Am J Public Health ; Hispanic Health and Nutrition Examination Survey: Respiratory disease in a New Mexico population sample of Hispanic and non-Hispanic whites. Am Rev Respir Dis ; Arch Med Res ; Causes of death [Internet] [accessed October 11, ].
Mortality from lung cancer and chronic obstructive pulmonary disease in New Mexico, — Respiratory diseases in minorities of the United States.Dating Korean Boyfriend In Korea. Interview Latino Who Has A Korean Boyfriend.
Tobacco atlas [Internet] [accessed October 18, ]. Cotinine concentration in smokers from different countries: Cancer Epidemiol Biomarkers Prev ; Cigarette smoking behavior among US Latino men and women from different countries of origin. Acculturation, education, and income as determinants of cigarette smoking in New Mexico Hispanics.
Cancer Epidemiol Biomarkers Prev ;1: Trends in smoking among Hispanic women in California: Am J Prev Med ; Effects of nativity, age at migration, and acculturation on smoking among adult Houston residents of Mexican descent. Domestic biomass fuel combustion and chronic bronchitis in two rural Bolivian villages.
Health effects and sources of indoor air pollution: Exposure to biomass smoke and chronic airway disease in Mexican women: The effect of biomass burning on respiratory symptoms and lung function in rural Mexican women. Survival of patients with chronic obstructive pulmonary disease due to biomass smoke and tobacco. Salinas M, Vega J. The effect of outdoor air pollution on mortality risk: World Health Stat Q ; Daily respiratory mortality and PM10 pollution in Mexico City: Eur Respir J ; Daily respiratory mortality and PM10 pollution in Mexico City.
The avoidable health effects of air pollution in three Latin American cities: Santiago, Sao Paulo, and Mexico City.
Siblings of patients with severe chronic obstructive pulmonary disease have a significant risk of airflow obstruction. Genetic epidemiology of severe, early-onset chronic obstructive pulmonary disease: Genome-wide linkage analysis of severe, early-onset chronic obstructive pulmonary disease: Hum Mol Genet ; Genomewide linkage analysis of quantitative spirometric phenotypes in severe early-onset chronic obstructive pulmonary disease.
Am J Hum Genet ; Heritability of ventilatory function in smoking and nonsmoking New Mexico Hispanics. Genome-wide linkage analysis of pulmonary function in families of children with asthma in Costa Rica. Surfactant protein gene A, B, and D marker alleles in chronic obstructive pulmonary disease of a Mexican population.
Spirometric reference values from a sample of the general US population. Harrell J, Carrasquillo O. Descriptors of breathlessness in Mexican Spanish [in Spanish]. Risks in using nonrigorous Spanish translations of asthma questionnaires. Comparison of two questionnaires on respiratory symptoms in a nicaraguan population: Int J Occup Environ Health ;2: Risk factors for obstructive sleep apnea in adults.
Prevalence of obesity and associated co-morbid conditions in a population-based sample of primarily urban Mexican Americans. The longer you stay, the bigger you get: Am J Phys Anthropol ; Is chronic obstructive pulmonary disease related to sleep apnea-hypopnea syndrome?
Sleep and sleep-disordered breathing in adults with predominantly mild obstructive airway disease. Latinos report less use of pharmaceutical aids when trying to quit smoking.
An exploration of Latino smokers and the use of pharmaceutical aids. Pharmacoeconomic study of antibiotic therapy for exacerbations of chronic bronchitis and chronic obstructive pulmonary disease in Latin America [in Spanish]. Use and misuse of antibiotics in Latin America. Clin Infect Dis ; Devlin B, Roeder K. Genomic control for association studies.
In fact, his orientation to the production of his "libretto" remains entirely in the tradition of the vernacular book: Nevertheless, the care and expense with which Tempi 3 is produced, especially in its careful minuscule chancery hands and illustrations linked to poems inserted into the quires, reveal not just a wealthy patron-composer with no Latin at his disposal, but a book with distinct scribal and cultural models fused together.
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While we hear little of the style of Giovanni Villani's history of Florence, Domenico's proposed purpose of providing an eye-witness chronicle of his sphere of professional activity echoes both Dino Compagni's Cronica and the then rapidly developing custom of the family book of morally sententious and professionally useful information, a form of the ricordanza Central to his introduction to this small "mirror" of his times, Domenico' s humble sense of connectedness to virtuous books of the past and the service of his chronicle to a future public is a first-person homage to and account of the glories and sufferings of Florence, the daughter of Rome.
In spite of few references to his own daily existence in the Specchio, the immediacy of Domenico's eye-witness status is constantly present not only in the extraordinary overview that his account books reveal, but especially in his analyses of social and political motivations and trends. Just as in the early fourteenth-century case of Dino Compagni, chronicle is not history; Domenico's observations and first-hand anecdotes draw together the moral lesson of very present circumstances.
Domenico's Specchio is produced not only in the context of the vernacular chronicles of his day, but also within the material trends of vernacularization, or volgarizzamento, itself. The manuscript fragment formerly found at the Morgan Library, Feltrinelliattests to the possibly wide circulation in the first part of the Trecento of Andrea Lancia' s prose translation of the Aeneid.
Cultural Crisis and Material Innovation: the Italien Manuscript in the XIVth Century - Persée
Andrea's proem underscores the historical and ethical values of the text for its Italian readers. In the Specchio, Domenico links definitions of terms in the vernacular to their scribal layout, alerting the reader, in spite of the address to the "listener" uditoreto the dynamics of the mise en page: E questo solo si fa accio ehe H'animo dell'uditore, troppo ripetendo cio, no' infastidisca Pinto: These instructions to the reader of the Specchio appear in the columns of text and not in the margins or as readerly glosses.
Rather they are essential for the comprehension of a wider public perhaps not used to negotiating the format of account books that Domenico employs when recording monthly market prices Domenico's integration of long passages of chronicle contextualizes the raw data of these account records However their function as "historical commentary" is treated by Domenico purely as text and not as gloss.
The scribal shift from record to chronicle is virtually seamless in the codex's almost 9 H. Rather, as we shall see, Domenico employs two other genres, poetry and illustration, to gloss his accounts and chronicle.
Though difficult in its realization, the relationship among the transcriptional and artistic genres of poetry and illustration in the early fourteenth century established scribal models upon which Domenico constructed an intricate and innovatively coordinated scribal system of commentary and reference While the initial double illumination on c. Consequently Domenico faces the very material problem of placing the six illustrations near to the text that introduces them as "figure" and "pincture".
Domenico spells out their role as both glossing illustration — both for the literate and the illiterate — for his retelling of the story of the expulsion of the poor from Siena and the sanctuary they find in Florence: The first sonnet "Fattor celestial ne porta in terra" on c. Of the manuscript's 16 fascicles, only three contain the glossing illustrations and sonnets Not by chance, these three fascicles are comprised of additional bifolia on which we find the illustrations and sonnets.
Domenico and his scribe devise a system for negotiating the practicalities of inserting the illuminations and their sonnets based on the incorporation of bifolia on which they have been, mostly likely, separately produced and then inserted into the quire And while this sounds like a simple operation, the rules governing the construction of manuscripts themselves and the assemblage of quires, or fascicles, required of Domenico strategies that ultimately only slightly compromised the poetic glosses of the illustrations.
In both the first and the ninth quires cc. As we have already H.
However, in the first quire, the requirements of the hair-flesh orientation for the illuminations breaks the standard scribal alignment — both within the quire and from quire to quire — of hair side to hair side and flesh to flesh.
The hair side on which the sonnet "Fattor celestial ne porta in terra" has to be copied c. This problem is resolved in the ninth fascicle with the bifolium that contains the facing illustrations and the framing sonnet commentaries on cc.
In spite of this corrective solution, the ninth quire assures us of Domenico's technique of using additional bifolia to insert these pictorial and poetic glosses. Concluding the previous eighth fascicle at c. He leaves the hair side c.
However, he has already prepared c. This hair-flesh infraction plus the sewing for the original gathering between cc. The bifolium containing the illustration of Albizzo' s crime c. In Domenico's proudly "nationalistic", pro-Florentine narrative, the outrage perpetrated by the Sienese in and Florence's response represented the perfect opportunity to convey not only some of the book's most strident anti-Sienese invectives but also the largest illumination of the work so that, as we have already noted, even those who cannot read will be able to look at the picture and know the evil of Siena and the glory and honor of the noble city of Florence c.
In this quire all the conventions of artistic and scribal genres are satisfied with innovation. The ordering of hair-to-hair and flesh- to-flesh sides is perfect. The diptych is executed on the fleshy, internal sides of the inserted bifolium cc. The effect of the blank chartae 57r and 58v that separate the narrative from the double illumination, that could only have been carried out on a single bifolium, actually imitates much older Carolingian codices that Domenico would probably not have known.
But the technique of the blank hair-side chartae employs the added innovation of highlighting the illustration by setting it off from the narrative, an effect intensified by the direct poetic citation from Dante's Inferno But the techniques with which Domenico and his scribe manipulate the diverse genres into an integrated and seamless presentation of extraordinary effect reflect an important and innovative trend in fourteenth-century book production, whereby patron and copyist revise the limited role of the quire in previous Scholastic production and reform the construction of the codex Domenico's manuscript is not a grand literary monument in the style nor the sense of Francesco di ser Nardo's copy of Dante's Commedia Milano, Trivulziano nor of Malpaghini and Petrarca' s copy of the Rerum vulgarium fragmenta Vaticano Latinobut it does represent a unique material success in the editorial merging of diverse scribal forms.
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- Cultural Crisis and Material Innovation: the Italien Manuscript in the XIVth Century
The cultural scope of Domenico 13 H. WAYNE STOREY Lenzi's Specchio umano extends from the economic, judicial and historical spheres of human life in Florence and her surrounding comuni to the literary and artistic depiction of the ethical fabric of civic and mercantile society.
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It is a work that draws on many traditions — including the Divine Comedy, recent forms of the sonnet, current political and juridical issues, and most certainly the life of the markets in Orsanmichele — to create more than a diary and more than a chronicle.
Domenico' s title, announced — as we have noted — in his proem on c. Of course, the bulk of fourteenth-century manuscript production in northern Italy responds to the very diverse and perhaps less integrative needs of commissions and individual readers.
In much of this production, the copyist has the task of satisfying the presentational tastes of the patron while taking into account standard or changing scribal techniques and literary forms.
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Here too on a smaller scale we find the amanuensis negotiating, for example, between authorial innovation and his own habits and rules of transcription.
The literally monumental nature of the mid-century Florentine Chigiano L. Of a similar category is the pre- 13 70 section of New Haven, Beinecke Phillipps studied by Mignani: The manuscript, copied by a hand from western Tuscany if not from Pisais dedicated to canzoni produced between and, in the case of Giannozzo Sacchetti, Magnani: It also contains two canzoni written by Petrarca possibly in the s "Di pensier in pensier, di monte in monte" and "Amor, se vuoi ch'io torni al giogo anticho".
In spite of some of its politically-charged poetry, the copy reveals a relatively conservative transcriptional culture in a very neat gothic hand bastar da formata. At its very center, the codex transmits what must have been, as Mignanip.
Our understanding of the codex's cultural apparatus changes even more when we consider its material: