2 research outputs found
Analysis of Fcγ receptor haplotypes in rheumatoid arthritis: FCGR3A remains a major susceptibility gene at this locus, with an additional contribution from FCGR3B
No full textThe Fcγ receptors play important roles in the initiation and regulation of many immunological and inflammatory processes, and genetic variants (FCGR) have been associated with numerous autoimmune and infectious diseases. The data in rheumatoid arthritis (RA) are conflicting and we previously demonstrated an association between FCGR3A and RA. In view of the close molecular proximity with FCGR2A, FCGR2B and FCGR3B, additional polymorphisms within these genes and FCGR haplotypes were examined to refine the extent of association with RA. Biallelic polymorphisms in FCGR2A, FCGR2B and FCGR3B were examined for association with RA in two well characterized UK Caucasian and North Indian/Pakistani cohorts, in which FCGR3A genotyping had previously been undertaken. Haplotype frequencies and linkage disequilibrium were estimated across the FCGR locus and a model-free analysis was performed to determine association with RA. This was followed by regression analysis, allowing for phase uncertainty, to identify the particular haplotype(s) that influences disease risk. Our results reveal that FCGR2A, FCGR2B and FCGR3B were not associated with RA. The haplotype with the strongest association with RA susceptibility was the FCGR3A–FCGR3B 158V-NA2 haplotype (odds ratio 3.18, 95% confidence interval 1.13–8.92 [P = 0.03] for homozygotes compared with all genotypes). The association was stronger in the presence of nodules (odds ratio 5.03, 95% confidence interval 1.44–17.56; P = 0.01). This haplotype was also more common in North Indian/Pakistani RA patients than in control individuals, but not significantly so. Logistic regression analyses suggested that FCGR3A remained the most significant gene at this locus. The increased association with an FCGR3A–FCGR3B haplotype suggests that other polymorphic variants within FCGR3A or FCGR3B, or in linkage disequilibrium with this haplotype, may additionally contribute to disease pathogenesis
‘Synge we now alle and sum’: three Fifteenth-Century collections of communal song: a study of British Library, Sloane MS 2593; Bodleian Library, MS Eng. poet. e.1; and St John’s College, Cambridge, MS S.54
No full textThe manuscripts British Library, Sloane MS 2593, Bodleian Library, MS Eng. poet. e.1, and St John’s College, Cambridge, MS S.54 are compact collections of song lyrics written during the fifteenth century, largely without notation. My thesis seeks to develop responsive ways of reading these anthologies and uses the manuscripts to illumine the creative processes that produced and circulated their songs. I integrate attention to song lyrics within the material books and exploration of wider textual networks. As many of the anthologies’ texts are in
carol form, a combination of refrain parts and stanzas, the books provide an opportunity to examine the form’s identity and significance within fifteenth-century English songwriting.
The thesis is in three parts and the first introduces critical approaches to the manuscripts and the carol, followed by an examination of the books and their contexts, especially manuscripts with which the anthologies have textual connections. The central section investigates the songs’ production and circulation by examining textual networks, how the anthologies were written, how the songs may have been performed, and the role of memory in shaping the songs and anthologies. The final part explores women’s role in the songs, the range of forms used, and the centrality of the many imagined voices and performances within the texts.
This is the first extended study focused upon these three sources, which as anthologies offer insight into ways songs were shared and organised. I investigate the role of short collections and booklets in the construction of longer
anthologies, and the possibility of an especially productive song culture within fifteenth-century East Anglia. Rather than repeating assertions familiar from
earlier studies of carols that the anthologies’ songs are either popular or clerical productions, I suggest how the anthologies engage with communal performance cultures and participate in varied song traditions, from liturgy to lullaby
