Diagnosis of Tinea pedis and onychomycosis in patients from Portuguese National Institute of Health: a four-year study

ABSTRACT - Tinea pedis and onychomycosis are two rather diverse clinical manifestations of superficial fungal infections, and their etiologic agents may be dermatophytes, non-dermatophyte moulds or yeasts. This study was designed to statistically describe the data obtained as results of analysis conducted during a four year period on the frequency of Tinea pedis and onychomycosis and their etiologic agents. A questionnaire was distributed from 2006 to 2010 and answered by 186 patients, who were subjected to skin and/or nail sampling. Frequencies of the isolated fungal species were cross-linked with the data obtained with the questionnaire, seeking associations and predisposing factors. One hundred and sixty three fungal isolates were obtained, 24.2% of which composed by more than one fungal species. Most studies report the two pathologies as caused primarily by dermatophytes, followed by yeasts and lastly by non-dermatophytic moulds. Our study does not challenge this trend. We found a frequency of 15.6% of infections caused by dermatophytes (with a total of 42 isolates) of which T. rubrum was the most frequent species (41.4%). There was no significant association (p >0.05) among visible injury and the independent variables tested, namely age, gender, owning pet, education, swimming pools attendance, sports activity and clinical information. Unlike other studies, the variables considered did not show the expected influence on dermatomycosis of the lower limbs. It is hence necessary to conduct further studies to specifically identify which variables do in fact influence such infections.

Valores de referência de robustez óssea avaliados próximo ao nascimento por ultrassonografia quantitativa em recém-nascidos de termo e pré-termo

Objectivo: Estabelecer valores de referência da robustez óssea nos primeiros dias de vida, em recém-nascidos de termo e pré-termo adequados para a idade de gestação nascidos em Portugal. Métodos: Foi medida a velocidade do som (VdS) (m/s) por ultrassonografia quantitativa, numa amostra sistemática de recém-nascidos adequados para a idade de gestação, de termo e pré-termo, respectivamente nos primeiros dois e cinco dias após o nascimento. Foi avaliada a homogeneidade de valores entre géneros e entre grupos de idade de gestação. Resultados: A amostra constou de 158 recém-nascidos, 34 de termo e 124 pré-termo (idade de gestação entre 26 a 41 semanas), com peso de nascimento de 595 g a 4195 g, 84 do sexo masculino (53,2%) e 20 gémeos (10,8%). A média da VdS aumenta significativamente com a idade de gestação. São providenciados valores de referência da VdS para os percentis 10, 25, 50, 75 e 90, para grupos de idade de gestação, sem distinção para o género. Conclusão: São disponibilizados valores de referência de VdS nos primeiros dias de vida, de recém-nascidos adequados para a idade de gestação, de termo e pré-termo, nascidos em Portugal. Estes valores reflectem a robustez óssea intrauterina e servem de referência basal para estudos evolutivos realizados em Portugal.

Twin Peaks como alegoria daimónica cinematográfica

For a long time the allegorical activity was considered dogmatic and equated with artistic fossilization, archaic religious propensity and lack of creativity. However, Walter Benjamin (1928) and Paul De Man (1969), among other illustrious thinkers, came to its defense, exalting, instead, its cryptic, hybrid and abstract nature, which, incidentally, are the main characteristics of modern art. “Twin Peaks – Fire Walk with Me” (David Lynch, 1992) is a wonderful object of analysis, despite being one of the most misunderstood films in the history of cinema. The fact that its narrative is a prequel to the cult television series “Twin Peaks” and incorporates many of the characters of that show, explicitly denigrating the moral image of the protagonist, Laura Palmer, brought about an intense rejection by the fans of the series, as well as the indifference of the cinephilic community in general. However, one must go deeper, in order to understand Lynch’s brave accomplishment and its artfulness. Indeed, the opus is a powerful cinematic allegory because it contains a double layer of metaphorical meaning, one of them being explicitly metacinematic. Thus, besides assuming itself as a filmic daimonic allegory, occurring in a spiritual universe of Good versus Evil, the film is also an authorial discourse on cinema itself. More specifically, it is an allegory of spectatorship, according to Robert Stam’s definition, where the existence and crossing over to “another side” duplicates the architecture of movie theatres and the psychic processes involved in film viewing.

Estratégia de comunicação da burberry em Portugal: um estudo de caso

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Gestão Estratégica das Relações Públicas.

Spectral and weak polynomial completeness for the porduct of nonsingular matrices

Let F be a field with at least four elements. In this paper, we identify all the pairs (A, B) of n x n nonsingular matrices over F , satisfying the following property: for every monic polynomial f(x) = xn + an-1xn-1 + … +a1x + aο over F, with a root in F and aο = (-1)n det(AB), there are nonsingular matrices X, Y ϵ Fnxn such that X A X-1 Y BY-1 has characteristic polynomial f (x). © 2014 © 2014 Taylor & Francis.

Spectral and weak polynomial completeness for the product of nonsingular matrices

Let F be a field with at least four elements. In this paper, we identify all the pairs (A, B) of n x n nonsingular matrices over F, satisfying the following property: for every monic polynomial f (x) = x(n) + a(n-1)x(n-1) +... + a(1)x + a(0) over F, with a root in F and a(0) = (-1)(n) det(AB), there are nonsingular matrices X, Y is an element of F-nxn such that XAX(-1)Y BY-1 has characteristic polynomial f (x).

Derek Jarman’s allegories of spectacle: inter-artistic embodiment

ABSTRACT - Derek Jarman was a multifaceted artist whose intermedial versatility reinforces a strong authorial discourse. He constructs an immersive allegorical world of hybrid art where different layers of cinematic, theatrical and painterly materials come together to convey a lyrical form and express a powerful ideological message. In Caravaggio (1986) and Edward II (1991), Jarman approaches two european historical figures from two different but concomitant perspectives. In Caravaggio, through the use of tableaux of abstract meaning and by focusing on the detailing of the models’ poses, Jarman re-enacts the allegorical spirit of Caravaggio’s paintings through entirely cinematic resources. Edward II was a king, and as a statesman he possessed a certain dose of showmanship. In this film Jarman reconstructs the theatrical basis of Christopher Marlowe’s Elizabethan play bringing it up to date in a successfully abstract approach to the musical stage. In this article, I intend to conjoin the practice of allegory in film with certain notions of existential phenomenology as advocated by Vivian Sobchack and Laura U. Marks, in order to address the relationship between the corporeality of the film and the lived bodies of the spectators. In this context, the allegory is a means to convey intradiegetically the sense-ability at play in the cinematic experience, reinforcing the textural and sensual nature of both film and viewer, which, in turn, is also materially enhanced in the film proper, touching the spectator in a supplementary fashion. The two corporealities favour an inter-artistic immersion achieved through coenaesthesia.

Weakly spectrally complete pair of matrices

Let and be matrices over an algebraically closed field. Let be elements of such that and . We give necessary and sufficient condition for the existence of matrices and similar to and, respectively, such that has eigenvalues.