29 research outputs found
EMLA and Lidocaine Spray: A Comparison for Surgical Debridement in Venous Leg Ulcers
No full textObjective: In this study the author proposes to compare eutectic mixture of local anesthetics (EMLA) and an odontoiatric spray solution of 10% Lidocaine (Ecocain) for surgical debridement in venous leg ulcers. Approach: Fifty patients were recruited and randomly assigned into two groups (A, B). All of them have venous leg ulcer in the medial and/or lateral malleolar region. Group A: topical anesthetic EMLA with film occlusion. Group B: topical anesthesia with Ecocain. The author proceeded to surgical debridement after local anesthesia. A questionnaire and a visual analog scale (VAS) were administered to assess the amount of pain felt during the debridement and during the following 6 h. Results: The analysis of the VAS revealed no major significant differences statistically. The analysis of the questionnaires showed patients treated with Ecocain took more analgesic drugs. Analysis of the timing and quality of procedure showed that Ecocain reduced the timing of debridement and dressing change, improving the outpatient management and patient compliance. Innovations: For rapid debridement, the most appropriate is to use Ecocain. Conclusion: Methods of local anesthesia are multiple and must be identified according to the needs of the patient and the surgeon trying to get the best anesthesia with minimal use of time and resources. © Copyright 2015, Mary Ann Liebert, Inc
Filippo Càssola e il circolo Adolfo Omodeo
No full textAppartiene all’eredità intellettuale e materiale di Filippo Càssola anche la creazione di un circolo politico, che egli scelse di chiamare con il nome di Adolfo Omodeo, autore di una storia magistrale del Risorgimento Italiano, ispiratore della vigorosa rinascita culturale dell’Italia antifascista e precoce anticipatore di una comunità europea. Nello spirito di questi ideali, Càssola, autorevole conoscitore delle libertà e dei diritti del mondo antico e moderno, come emerge da tutta la sua prestigiosa produzione scientifica, ispirò molti studiosi e appassionati ad occuparsi di argomenti orientati verso le problematiche civili e politiche più attuali, soprattutto in relazione ai delicati problemi della questione adriatica, del resto non ancora risolti.Belongs to the intellectual heritage and material of Filippo Càssola also the creation of a political circle, that he chose to call with the name “Adolfo Omodeo”, the author of a masterful history of the Italian Risorgimento, the inspirer of vigorous cultural rebirth of the anti-Fascist Italy and early anticipator of a European Community. In the spirit of these ideals, Càssola, authoritative connoisseur of the freedom and rights of the ancient world and modern, as emerges from the whole of its prestigious scientific production, inspired many scholars and enthusiasts to deal with topics oriented toward issues and civil and political more current, especially in relation to the delicate problems of the Questione Adriatica, the rest is not yet solved
Interface da rede de controle do Cluster Clux
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós -Graduação em Computação.Este trabalho faz parte do projeto de construção do Clux, um cluster para a exploração do processamento paralelo em um sistema constituído por um conjunto de estações de trabalho independentes, conectadas por uma rede de interconexão dinâmica. O objetivo deste trabalho é a implementação da interface da rede de controle do cluster Clux, responsável pelo transporte de mensagens de controle utilizadas para a gerência da configuração da rede de interconexão dinâmica
LIKOVNA SCENA U SPLITU 1970.-IH
No full textGospodarski rast, industrijski uzlet i razvitak turizma uzrok su brojnim promjenama koje su se dogodile u Splitu 1970-ih, od kojih se ističu one u urbanističkom razvoju grada (projekt Splita 3, izgradnja u sklopu Mediteranskih igara) i nastanak Sveučilišta. Splitsku likovnu, kao i čitavu kulturnu scenu 70-ih karakterizira izrazito institucionalizirani način kulturne proizvodnje, iako su se promjene na jugoslavenskoj i međunarodnoj likovnoj sceni odrazile i na način shvaćanja umjetnosti u lokalnom kontekstu. Tako do prvih manifestacija nekonvencionalnih načina umjetničkog djelovanja na tragu konceptualne umjetnosti dolazi 1968. aktivnostima grupe Crveni Peristil. Linija radikalnijih oblika umjetničke prakse nastavljena je krajem 80-ih, dok je 70-e obilježio kontinuitet estetike 50-ih i 60-ih – apstrakcija, obnovljeni nadrealizam i naiva, te individualni autorski izričaji. Likovna scena prikazana je nizom izložaba – uz samostalne izložbe i skupne manifestacije (Splitski salon, Prvomajska izložba, Bijenale suvremene grafike, Omladinski salon i Bijenale slika malog formata), prikazana je i izložbena djelatnost mnogobrojnih udruga umjetnika-amatera. Uz već afirmiranu generaciju slikara (Antun Zupa, Ante Kaštelančić, Josip Botteri Dini) počinje izlagati i mlađa generacija (Jakov Budeša, Mile Skračić, Petar Jakelić, Jurica Kezić, Velebit Restović), dok se među kiparima ističu Vasko Lipovac, Kažimir Hraste i Kuzma Kovačić. Dominantna obilježja likovne scene – konzervativizam i akademizam umjetničkih krugova – utjecali su na stagnaciju u likovnom smislu i izostanak radikalnijih oblika umjetničke prakse, uz iznimku malobrojnih autora konceptualne scene, među kojima se ističe djelovanje Gorkoga Žuvele. Stoga su u likovnoj kritici tog razdoblja česte polemike u vezi vrijednosnih kriterija, podjednako onih kojima se prosuđuje tradicionalnija, modernistička kao i suvremena umjetnička produkcija. S namjerom da se prikažu ideje i problemi područja vizualne kulture, dan je prikaz fotografske, kinoklupske, dizajnerske i kazališne scene, pri čemu se nastoji ukazati na njihovu međusobnu isprepletenost i ulogu umjetnika i kulturnih radnika u nastanku izvaninstitucionalne, alternativne kulture. Sagledavanje popularnokulturnih fenomena usmjereno je na Splitski festival i rock-kulturu – na novinske članke, kulturne i omladinske časopise koji pružaju uvid u širi društveni kontekst likovne i kulturne scene Splita 70-ih.Economic growth, industrial take-off and the development of tourism are the cause of many changes that took place in Split in the 1970s, of which the most notable ones are those in the construction plan (project Split 3, the construction for the Mediterranean Games) and the development of the University. Split art scene (as well as the whole cultural scene) during the 70s is characterized by institutionalized approach, however, changes in the international scene had influence in artistic production – the first event of non-conventional modes of artistic activity comes in 1968. with the action made by group Red Peristyle. Radical forms of artistic practice continued in the late 80s, while in the 70s continuity aesthetics of the 50s and 60s took place - an abstraction, surrealism renewed and naive, and the individual author expressions. Art scene is presented by a series of exhibitions – with solo exhibitions and group events (Split Salon, May Day exhibition, Biennale of contemporary graphics, Youth Salon and Biennial exhibition of the small format), as well as the exhibiting activity of numerous associations of artists-amateurs. In addition to the well established generation of painters (Antun Zupa, Ante Kaštelančić, Josip Botteri Dini), the younger generation begins to exhibit (Jakov Budeša, Mile Skračić, Peter Jakelić, Jurica Kezić, Velebit Restović), while among the sculptors Vasko Lipovac, Kažimir Hraste and Kuzma Kovačić stand out. The dominant characteristics of the art scene – conservatism and academicism – have resulted in stagnation in the artistic sense and the lack of contemporary art (with the exception of a few authors, among which the significant work of Gorki Žuvela), so in art criticism occurred polemics concerning the criteria of traditionalism and actuality. In order to present the ideas and problems of the field of visual culture, a review of photographic, cinemaclub, designer and theater productions is given with an effort to point out their mutual interpenetration and the role of artists and cultural workers whose activity had distinction of non-institutional cultural action. Split Festival and rock culture are examples of pop cultural phenomena, while newspaper articles, culture and youth magazines provide insight and help reconstruct the context of the Split social scene in the 70s
The Image of Christ
No full textU članku teološki analiziramo sliku Krista kroz povijest sa svim svojim stilskim i teološkim pomacima, s duhovnim stremljenjima pojedinih epoha povijesti. U najranije doba, u III. i IV. stoljeću, Krista prikazuju najprije simbolima ribe, vinove vitice, janjeta i slično, potom preuzimajući elemente iz grčko-rimskoga svijeta slikaju Krista u slici boga Sunca, pa u slici dobroga pastira. Stilske izmjene i ikonografske preobrazbe slike Krista kroz povijest kršćanstva, osobito kroz srednji vijek, odgovaraju povijesti mijenjanja mentalnog sklopa ljudi. Nakon konstantinovskog preokreta kršćani slikaju Krista kao »kralja nad kraljevima« i »gospodara nad gospodarima«, kao svevladara, pantokratora. - Romanička umjetnost u ΧII. st. izrađujući sliku Krista pokušavala je emotivno dirnuti promatrača, da čovjek osjeti uzvišenost i distancu punu poštovanja prema nebeskoj slavi Gospodnjega veličanstva (lat. Maestas Domini). Krista prikazuju kao blagog, milosrdnog, dobrog, lijepog Boga. Bio je to odraz one duhovnosti koju su pokrenuli Franjo Asiški, Dominik i mnogi drugi mistici. - Gotičke uljne slike Krista (XII.-XV. st.) na drvu ili platnu posvećuju svoju pozornost stvarnosti smrti i trpljenja. No, i gotička umjetnost izražava u slikama nadvremenski vid povijesti spasenja.
U kasnom srednjem vijeku (XIV. - XVI. st.) umjetnici opet nastoje Krista tako prikazati da dirnu pojedinca u srce tako da se nađe izravno sučeljen s Kristom patnikom. Novo ikonografsko oblikovanje Krista odgovaralo je temama i mentalitetu kršćana potkraj visokog srednjeg vijeka. - Potkraj srednjega vijeka pod utjecajem teoloških i duhovnih stremljenja vjernici su vjerovali da je na neki način u slici utjelovljen onaj kojega slika prikazuje. Bili su uvjereni da slike govore, krvare ili se kreću. Naslikani Krist nikada nije bio samo neki nesavršeni izraz transcendentne stvarnosti, nego vidljivi oblik nevidljive stvarnosti (kao i u sakramentima).
Renesansa (XIV.-XVI. st.) Krista prikazuje kao neiskazano lijepoga čovjeka u kojemu i kroz kojega nam se nudi istinsko i pravo čovještvo (lat. humanum). Prikazani su stvaratelji renesansne slike Krista: T. Masaccio, H. B. Grien, A. Altdorfer, A. Mantegna, Bosch, M. Grünewald, Michelangelo, Rafael.
Mistični kristovski prodor u renesansu učinio je barok (XVI-XVIII. st.) kada su omiljele slike Kristove muke, te Kristova preobraženja, uskrsnuća i uzašašća. Barokne kupole oslikane prizorima Krista i neba gdje na prijestolju stoluje Presveto Trojstvo okruženo anđelima i arkanđelima, prijestoljima i gospodstvima i svom nebeskom vojskom (kupola koju je oslikao J. B. Zimmermann). Pokazani su i protumačeni primjeri baroknog slikarstva Večera u Emausu (Caravaggio i Rembrandt), Uskrsnuće Isusovo (El Greco) te istaknute značajke Rebrandtova i Rubensova slikarstva s osobitim odnosom na sliku Krista.
U vrijeme prosvjetiteljstva u XVIII. st. prizori iz Kristova života rjeđe su prikazivani, a češće slike koje su bile u službi ukrašivanja unutrašnjosti sagrađenih crkava (osobito rokoko kupola). Poslije Francuske revolucije dolazi u doba obnove (restauratio) u XIX. stoljeću do obnove religiozne umjetnosti a samim time i slike Krista. Religiozne su teme opet u visokoj cijeni, osobito prizori Isusovih čudesa (P.-E. Detouche) što služi duhu onodobne crkvene apologetike.
U XIX. st. se dogodio konačan lom između crkvenog učiteljstva i velikih majstora slikarstva koji su se sve više osamostaljivali. Na kraju XIX. i u XX. st. u slikarstvu prevladava novi lik Krista: James Ensor, P. Gauguin. U slikanju Kristova lika prevladava impresionizam i ekspresionizam (E. Nolde, Picasso, F. Bacon, G. Sutherland, A. Saura). Pokazano je i analizirano nekoliko suvremenih slika Krista (Karl Schmidt-Rottluff, Georges Rouault, L. Corinth, Marc Chagall).
Tijekom XX. st. u prikazivanju Krista istaknuli su se i hrvatski slikari I. Meštrović, J. Kljaković, Z. Šulentić, te poslije drugog svjetskog rata Ivan Dulčić, Dino Botteri, M. Ljubičić, Đuro Seder, te predstavnici naivne umjetnosti I. Lacković Croata, I. Generalić, I. Rabuzin. Poslije Drugog svjetskog rata podstrek slikanju religioznih tema dali su dominikanci R. Couturier i Regamey. U slikanju Krista ističu se umjetnici Salvador Dali, Germaine Richier, H. Matisse, J. Bazaine, J.-P. Raynaud, C. Viallat, P. Soulages, M. Rothko, Candace Carter i mnogi drugi.The image of Christ holds the features of spiritual tendencies and temporal sufferings of certain periods in history. In the earliest times, in the 3rd and 4th centuries, Christ was first presented by means of the symbols of fish, tendril, lamb and the like; later on, while taking over some elements from the Greek-Roman world, artists depicted Christ as the sun god, and then as the Good Shepherd. Stylistic changes and iconographic transformations of the image of Christ throughout the history of Christianity, particularly in the Middle Ages, correspond with the changes of the mind-set of people through history. After the Constantinian turn, Christians painted Christ as the king of all kings and the lord of all lords, omnipotent ruler, pantocrator. At the time of the great Church Councils, Jesus appeared in the paintings as a teacher and legislator (4th and 5th centuries). Romanesque theophanies in the 12th century have a symbolic place in the image of Christ, somewhere out of space and time. The 12th-century paintings of Romanesque art also tried to touch the viewer, but Romanesque painters wanted above all to make the viewer feel the sublimity and distance full of reverence towards the celestial glory of the Lord's majesty (Lat. Maestas Domini). That was the time of a radical change in the history of the image of Christ. Christ was depicted as a gentle, merciful, kind, beautiful God (Fr. beau Dieu). It was a reflection of the spirituality initiated by Francis of Assisi, Dominic and many other mystics. In this period, paintings used to express all the enchantment of Jesus in the scenes of his birth and Passion. They wanted to move the faithful to transform their lives. Gothic oil-paintings of Christ (12th - 15th centuries) on wood or canvas focus attention on the reality of death and suffering (e. g. paintings of laying Jesus in the Sepulcher or of the Holy Sepulcher itself). However, Gothic art in painting also expresses the supratemporal aspect of the history of salvation. The themes of these paintings are new or old, but thought over anew: the image of Jesus'face on Veronica's veil or his dead body in his mother's lap, Man of pain, etc.
Renaissance (14th - 16th centuries) shows Christ as an unspeakably beautiful man, in whom and through whom true, authentic humanity (Lat. humanum) is offered to us. During the presentation, several examples of the Renaissance image of Christ were demonstrated: The Holy Trinity by T. Masaccio, The Nativity by H. B. Grien, Christ Parts from His Mother by A. Altdorfer, Man of Pain by A. Mantegna, The Coronation of Christ by H. Bosch, Christ's Resurrection in the Isenheim altar by M. Grünewald, Christ in The Last Judgement by Michelangelo, Christ's Transfiguration by Raphael. Leonardo da Vinci and Michelangelo painted Christ in an unspeakably superhuman cast of features.
In the late Middle Ages (14th - 15th centuries), artists tried to present Christ in such a way again that would touch an individual to the heart so that he might be directly confronted with the suffering Christ. This new iconographic shaping of Christ corresponded with the themes and mind-set of Christians at the end of the late Middle Ages. In their adherence to Christ, the faithful strove to bear the cross themselves, to kiss the trunk of the cross, to participate in the intimate unity with saints. The image thus became an integral part of religious life, promising the faithful protection and intercession.
At the end of the Middle Ages, there was a change of the attitude of the viewer towards the image. Influenced by the theological and spiritual tendencies of the time, the faithful believed that the person, depicted in a picture, was incarnated in it in a way (in-carnatio). They were convinced that pictures spoke, bled or moved. This only shows what a special place the image of Christ and saints had in the lives of the faithful. The painted Christ was never merely an imperfect expression of the transcendent reality, but also a visible form of the invisible reality (like in the sacraments).
A mystical breakthrough of Christ into Renaissance was achieved by baroque (16th - 18th centuries) in which images of Christ's Passion, transfiguration, resurrection and ascension were highly popular. Baroque domes, covered with paintings of Christ and Heaven, want to provide a glimpse of Heaven, with the Holy Trinity on the throne, surrounded by angels and archangels, thrones and lordships, and all powers of the heavens (here, a dome was shown with rhapsodic painting Christ in Glory by J. B. Zimmermann). Several baroque paintings were demonstrated and explained here: The Supper in Emaus (Caravaggio and Rembrandt), The Resurrection of Jesus (El Greco), as well as some distinctive features of Rembrandt's and Rubens's art of painting with special reference to the image of Christ.
In the age of the Enlightenment in the 18th century, paintings with scenes from Christ's life were less frequent, whereas more frequent were those, meant to decorate the interior of churches built at the time (rococo domes, in particular). The French Revolution was followed by the Restoration period (restauratio) in the 19th century that also brought about a restoration of religious art, thus also of the image of Christ. Religious themes were in high esteem again, especially the scenes of Jesus' miracles (e. g. The Raising of Lazarus by P.-E. Detouche), which served the spirit of the Church apologetics of the day. In the 19th century, there was a final break between the Church Magisterium and great painters who gradually became more and more independent. At the end of the 19th century, and in the 20th, a new image of Christ dominated in painting, especially in the works by painters belonging to the Nazarenes and Pre-Raphaelites. The paintings by James Ensor (Christ's Entry into Brussels, 1888) and Paul Gauguin (The Yellow Christ, 1890) are examples of such new tendencies. Impressionism and expressionism were prevalent in the painting of the image of Christ, particularly within the Dresden Bridge (e. g. Crucifixion, painted in 1930 by Picasso, and later on by F. Bacon, G. Sutherland, A. Saura and others). E. Nolde was a pronounced expressionist when painting Christ. He abandoned the traditional iconography of Christ and created a new image of Christ in his polyptych. The Life of Jesus with the painting of The Holy Night (1912), that was demonstrated and explained during the presentation. Demonstrated and analysed were also the images of Christ by Karl Schmidt-Rottluff (Christus-Mappe, 1918), Georges Rouault (Mocking of Christ, 1932), L. Corinth (The Red Christ, 1922), Marc Chagall, inspired by symbolism (A White Crucifixion, 1937).
In the 20th century, some Croatian painters were also noted for depicting Christ, such as I. Meštrović, J. Kljaković, Z. Šulentić, after the Second World War I. Dulčić, D. Botteri, M. Ljubičić, Đ. Seder, as well as the well-known representatives of naive art I. Lacković Croata, I. Generalić and I. Rabuzin.
After the Second World War, an impetus to paint religious themes was given by Dominicans R. Couturier and Regamey. Under the impression of the horrors of war, artists created an image of Christ as an expression of human suffering. Prominent in depicting Christ were S. Dali (Christ of St. John of the Cross, 1951), G. Richier (The Crucified Christ), H. Matisse, J. Bazaine, J.-P. Raynaud, C. Viallat, P. Soulages, M. Rothko, C. Carter and many others
Sostdc1 is expressed in all major compartments of developing and adult mammalian eyes
No full textInternational audienc
Menstrual factors, reproductive history, hormone use, and Urothelial carcinoma risk: A prospective study in the EPIC cohort
No full textBackground: Urothelial carcinoma (UC) is the predominant (95%) bladder cancer subtype in industrialised nations. Animal and epidemiological human studies suggest that hormonal factors may influence UC risk. Methods: We used an analytic cohort of 333,919 women from the European Prospective Investigation into Cancer and Nutrition Cohort (EPIC). Associations between hormonal factors and incident UC (overall and by tumour grade, by tumour aggressiveness, and by non-muscle invasive UC) risk were evaluated using Cox proportional hazards models. All models were stratified by age at recruitment and study centre, and adjusted for smoking status and intensity, and fruit and vegetable intakes. Results: During a mean of 15 years of follow-up, 529 women developed UC. In a model including number of full-term pregnancies (FTP), menopausal status, and menopausal hormone therapy (MHT) showed an inverse association between, number of FTP was inversely associated with UC risk (HR≥5vs1=0.48, 0.25-0.90; P-trend in parous women=0.010) and MHT-use (compared to non-use) was positively associated with UC risk (HR=1.27, 1.03-1.57), but no dose-response by years of MHT-use was observed. No modification of HRs by smoking status was observed. Finally, sensitivity analysis in never-smokers showed similar HR patterns for number of FTP and no association between MHT-use and UC risk. Association between MHT-use and UC risk only remained significant in current-smokers. No heterogeneity of the risk estimations in the final model was observed by tumour aggressiveness or by tumour grade. A positive association between the MTH-use and non-muscle invasive UC risk was observed. Conclusion: Increasing number of FTP may reduce UC risk. Our results provided limited evidence for a role of MHT-use in UC risk due to residual confounding by tobacco. Impact: More detailed studies on parity are needed to understand the possible effects of perinatal hormone changes in urothelial cells
Correction to: Changes in surgicaL behaviOrs dUring the CoviD-19 pandemic. The SICE CLOUD19 Study (Updates in Surgery, (2021), 73, 2, (731-744), 10.1007/s13304-021-01010-w)
No full textThe Collaborative Group there are two authors names are incorrect. The correct names are provided below: Paolo Pietro Bianchi and Giampaolo Formisano Open Access This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence
Lifestyle changes and postmenopausal breast cancer risk in women from the European Prospective Investigation into Cancer and Nutrition
No full textBackgroundThe risk of breast cancer has been associated with various lifestyle factors, yet the evidence regarding how lifestyle modifications affect this risk remains limited. This study examines the relationship between changes in the Healthy Lifestyle Index (HLI) and postmenopausal breast cancer risk in women participating in the European Prospective Investigation into Cancer (EPIC).MethodsHLI scores (ranging from 0 to 16) were computed based on smoking habits, alcohol consumption, body mass index (BMI), and physical activity levels, using data from baseline and follow-up questionnaires, which were separated by a median interval of 10 (IQR: 5.2-12.0) years. Among the 125,746 women included in the analyses, 2,175 developed breast cancer over a median follow-up period of nearly 4 (IQR: 2.9-8.4) years starting from the date of the second lifestyle questionnaire. Cox proportional hazards models were employed to estimate hazard ratios (HRs) and confidence intervals (CIs) for the relationship between changes in HLI and postmenopausal breast cancer risk, analysed both overall and by estrogen receptor (ER) status. Individual components of the HLI were also analysed, with sensitivity analyses addressing potential reverse causation by delaying the start of follow-up by 1 to 3 years.ResultsEach unit increase in the HLI-reflecting a healthier lifestyle-was not associated with the overall risk of postmenopausal breast cancer. Among individual components, only a one-unit increase in the BMI score, corresponding to a shift towards a healthier BMI, was inversely associated with overall (HR = 0.936; 95% CI 0.880-0.996) and ER-positive (HR = 0.930; 95% CI 0.865-1.000) postmenopausal breast cancer risks.ConclusionsLifestyle changes, as measured by the HLI, during mid-adulthood were not significantly associated with the risk of postmenopausal breast cancer. More specifically, the results of this study suggested that a shift towards a healthier BMI may contribute to breast cancer prevention. Further research involving diverse and larger study populations and lifestyle assessments at earlier life stages could provide deeper insights
Changes in lifestyle and risk of colorectal cancer in the European prospective investigation into cancer and nutrition.
No full textINTRODUCTION: We investigated the impact of changes in lifestyle habits on colorectal cancer (CRC) risk in a multi-country European cohort. METHODS: We used baseline and follow-up questionnaire data from the EPIC cohort to assess changes in lifestyle habits and their associations with CRC development. We calculated a healthy lifestyle index (HLI) score based on smoking status, alcohol consumption, body mass index and physical activity collected at the two timepoints. HLI ranged from 0 (most unfavourable) to 16 (most favourable). We estimated the association between HLI changes and CRC risk using Cox regression models and reported hazard ratios (HR) with 95% confidence intervals (CI). RESULTS: Among 295,865 participants, 2,799 CRC cases were observed over a median of 7.8 years. Median time between questionnaires was 5.7 years. Each unit increase in HLI from the baseline to the follow-up assessment was associated with a statistically significant 3% lower CRC risk. Among participants in the top tertile at baseline (HLI>11), those in the bottom tertile at follow-up (HLI≤9) had a higher CRC risk (HR 1.34; 95%CI 1.02-1.75) than those remaining in the top tertile. Among individuals in the bottom tertile at baseline, those in the top tertile at follow-up had a lower risk (HR 0.77; 95%CI 0.59-1.00) than those remaining in the bottom tertile. DISCUSSION: Improving adherence to a healthy lifestyle was inversely associated with CRC risk, while worsening adherence was positively associated with CRC risk. These results justify and support recommendations for healthy lifestyle changes and healthy lifestyle maintenance for CRC prevention
