IntroductionA symptom cluster is very common among oncological patients: cancer-related fatigue, emotional distress, sleep difficulties, pain, and cognitive difficulties. Clinical applications of interventions based on non-ordinary states of consciousness, mostly hypnosis and meditation, are starting to be investigated in oncology settings. They revealed encouraging results in terms of improvements of these symptoms. However, these studies often focused on breast cancer patients, with methodological limitations. Another non-ordinary state of consciousness may also have therapeutic applications in oncology: self-induced cognitive trance. It seems (...) to differ from hypnosis and meditation, as it involves the body more directly. Thus, investigating its clinical applications, along with hypnosis and meditation interventions, could improve available therapeutic options in oncology. This article details the study protocol of a preference-based longitudinal controlled superiority trial aiming to assess the effectiveness of 3 group interventions to improve oncological patients’ quality of life, and more specifically CRF, emotional distress, sleep, pain, and cognitive difficulties.Methods and analysisA power analysis required a total sample of 160 patients. Main inclusion criteria are: cancer diagnosis, active treatments completed for less than a year, no practice of hypnosis, meditation, or SICT, and presence of at least one of these four symptoms: fatigue, sleep difficulties, depression, or anxiety. Each participant will choose the intervention in which they want to participate. To test the effectiveness of the interventions, data will be collected by questionnaires and neurobiological measures and directly from the medical record at four time points: before inclusion in the study ; immediately after the intervention; and at 3- and 12-month follow-up. The longitudinal data in each group will then be measured.DiscussionIn addition to standard cancer therapies, there is a growing interest from patients in complementary approaches, such as hypnosis, meditation, and SICT. The results of this study will be useful to increase knowledge about short- and long-term effectiveness of 3 group interventions for CRF, emotional distress, sleep, pain, and cognitive difficulties in patients with different cancers.Clinical Trial RegistrationClinicalTrials.gov/. Retrospectively registered on the 29th of April 2021. url: https://clinicaltrials.gov/ct2/show/NCT04873661. (shrink)

Despite the importance of the Judgement of Paris in the story of the Trojan War, theIliadhas only one explicit reference to it. This occurs, rather out of the blue, in the final book of the poem in a dispute among the gods about the treatment of Hector's body (24.25–30). Achilles keeps dragging the body around behind his chariot, but Apollo protects it with his golden aegis (24.18–21). Apollo then speaks among the gods and attacks the conduct of Achilles (24.33–54), claiming (...) at the end that he offends the dumb earth (24.54). Other gods too have their concerns about what is going on, and they keep trying to get Hermes to snatch the body away (24.23–4). The three most powerful divine enemies of Troy, however, Hera, Poseidon and Athena, will have none of this. They remain as hostile to Troy and Priam and his people as they ever were, and it is in this context that the Judgement of Paris is mentioned:ἔνθ' ἄλλοις μὲν πᾶσιν ἑήνδανɛν, οὐδέ πoθ' Ἥρῃοὐδὲ Ποσɛιδάων' οὐδὲ γλαυκώπιδι κούρῃ,ἀλλ' ἔχον ὥς σϕιν πρῶτον ἀπήχθɛτο Ἴλιος ἱρὴκαὶ Πρίαμος καὶ λαὸς Ἀλɛξάνδρου ἕνɛκ' ἄτης,ὃς νɛίκɛσσɛ θɛάς, ὅτɛ οἱ μέσσαυλον ἵκοντο,τὴν δ' ᾔνησ' ἥ οἱ πόρɛ μαχλοσύνην ἀλɛγɛινήν.(24.25–30)And this was pleasing to all the others, but never to Heranor to Poseidon, nor to the flashing-eyed maiden,but they remained hostile to sacred Ilios as in the beginning,and to Priam and to his people, because of Alexander's folly,he who insulted the goddesses when they came to his inner courtyardand praised her who provided his grievous lust. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 122.1 (2001) 49-66 [Access article in PDF] The Propriety of the Past in Horace Odes 3.19 Barbara Pavlock ODES 3.19, A CELEBRATION FOR Murena's election as augur, is one of Horace's most vivid symposiastic poems, yet it has elicited surprisingly little critical discussion. 1 This ode is infused with wry humor and exuberance, from the poet's seemingly indignant rebuke to an unnamed man who delays (...) the proceedings with his interest in ancient Greek history to the call for the toasts and then to the conclusion with spirited revelry in a setting with fine wine and roses. A tension between the beginning and the end of the poem reveals an underlying dynamic revolving around the issue of time, past and present. Although his address to the unnamed individual at the beginning may simply indicate a need to get the festivities in motion, the poet devotes the first strophe to the man's discourse on subjects from the remote past: the kings of Athens, from first to last, the heroes of the line of Aeacus, and the Trojan War. The end of the poem, by contrast, reflects the essential thrust of Horace's symposia toward the importance of the present moment, with the pleasures of love a major element.The pressure of time, a familiar theme in the Odes, is often closely connected with propriety: Horace, for instance, urges Leuconoe to stop [End Page 49] wasting her time by trying to peer into the future through astrology but instead to "seize the day" (carpe diem, 1.11.8) since envious time has rushed on even as they speak. 2 Odes 3.19, I believe, reveals an interplay between the poet's insistence on the present moment in antithesis to the past and an underlying concern for propriety. This article will consider the scope of propriety: as a philosophical concept associated with moderation, it is relevant to the recipient of the poem; not only operating in the social sphere, it also applies to Horace's own poetics. After briefly looking at the poet's views on the impropriety of an absorption in the remote past for the occasion at hand, I will examine how he allows for a more appropriate inclusion of Homeric material in a subtle, oblique way within this ode. Finally, I will show that Horace's placement of the erotic lyric immediately following deftly responds to the problematic of Odes 3.19 through an imaginative fusion of past and present. 1 The first two strophes contrast the dry lecture on historical subjects with issues pertinent to the symposium at hand: Quantum distet ab Inacho Codrus pro patria non timidus mori, narras et genus Aeaci et pugnata sacro bella sub Ilio: quo Chium pretio cadum mercemur, quis aquam temperet ignibus quo praebente domum et quota Paelignis caream frigoribus, taces. (1-8) You recount how great a span of time separates Codrus, not afraid to die for his country, from Inachus and the family of Aeacus and the wars fought before sacred Troy. At what price we should buy a jar of Chian wine, who should heat the water, at whose house and at what time I may escape the Paelignian cold, you are silent. Horace calls attention to the lengthiness of the addressee's discourse on his recondite subject matter by the range of topics, including the chronology of the kings of Athens, the heroes in the line of Peleus [End Page 50] and Telamon, and the Trojan War, and by his use of the verb narras. 3 He furthermore hints at an element of tedium by his description of Codrus, the last Athenian king, with the prosaic phrase pro patria non timidus mori. 4 Horace here echoes his own description of a self-sacrificing patriot earlier in same book. There, however, he employed resonant, alliterative adjectives in the inspired phrase dulce et decorum est pro patria mori (3.2.13). In addition, Horace suggests that the core of the addressee's interests is Homeric material, since he alludes to Achilles and... (shrink)