Manejo de minimelancia cultivada em fibra da casca de coco, sob ambiente protegido

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Manejo de minimelancia cultivada em fibra da casca de coco, sob ambiente protegido

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Perception of the esthetic impact of mandibular incisor extraction treatment on laypersons, dental professionals, and dental students

Objective: To evaluate the degree of perception of laypersons, dental professionals, and dental students regarding dental esthetics in cases with mandibular central incisor extraction. Materials and Methods: Using a smile photograph of a person with normal occlusion and all teeth, modifications were made to reflect the extraction of a mandibular incisor of various compositions and sizes. For this purpose a program specifically for image manipulation (Adobe Photoshop CS3, Adobe Systems Inc) was used. After manipulation the images were printed on photographic paper, attached to a questionnaire and distributed to laypersons, dental professionals, and dental students (n = 90) to evaluate the degree of perception and esthetic using a scale of attractiveness, where 0 = hardly attractive, 5 = attractive, and 10 = very attractive. The differences between examiners were checked by the Mann-Whitney test. All the statistics were performed with a confidence level of 95%. Results: The results demonstrated the skill of the dental professionals and dental students in perceiving the difference between cases of normal occlusion and cases where an incisor was lacking (P < .05). The photograph in which the lateral incisors were shown to be larger than the central incisor was the one that obtained the highest value among the cases of extraction in all groups of evaluators. Conclusions: It can be concluded that dental professionals and dental students are more skillful at identifying deviation from normality. In addition, central incisor extraction should always be discarded when there are other treatment options available. (Angle Orthod. 2012;82:732-738.)

Clinical strategies for esthetic excellence in anterior tooth restorations: understanding color and composite resin selection

Direct composite resin restorations have become a viable alternative for patients that require anterior restorative procedures to be integrated to the other teeth that compose the smile, especially for presenting satisfactory esthetic results and minimum wear of the dental structure. Technological evolution along with a better understanding of the behavior of dental tissues to light incidence has allowed the development of new composite resins with better mechanical and optical properties, making possible a more artistic approach for anterior restorations. The combination of the increasing demand of patients for esthetics and the capacity to preserve the dental structure resulted in the development of different incremental techniques for restoring fractured anterior teeth in a natural way. In order to achieve esthetic excellence, dentists should understand and apply artistic and scientific principles when choosing color of restorative materials, as well as during the insertion of the composite resin. The discussion of these strategies will be divided into two papers. In this paper, the criteria for color and material selection to obtain a natural reproduction of the lost dental structures and an imperceptible restoration will be addressed.

Minimally invasive esthetic therapy: a case report describing the advantages of a multidisciplinary approach

The decision-making process for the treatment of esthetic areas is based on the achievement of a healthy, harmonious, and pleasant smile. These conditions are directly associated with a solid knowledge of tooth anatomy and proportions, as well as the smile line, soft tissue morphology, and osseous architecture. To achieve these objectives, a multidisciplinary approach may be necessary to create long-term harmony between the final restoration and the adjacent teeth, and the health of the surrounding soft and hard tissues. This case report describes the application of a minimally invasive therapy on a 33-year-old woman seeking esthetic treatment. Minimally invasive periodontal plastic surgery associated with porcelain laminate veneers yielded satisfactory esthetics and minimal trauma to dental and periodontal tissues. Such a combined approach may be considered a viable option for the improvement of "white" and "red" esthetics.

Associação de técnicas conservadoras para otimizar a estética do sorriso: clareamento dental e microabrasão do esmalte

As várias opções para a realização de tratamentos estéticos conservadores permitem ao profissional a escolha de materiais e técnicas apropriados, que melhor se enquadrem nas características individuais de cada paciente e na realidade de seu consultório. No caso clínico apresentado, a técnica de clareamento dental em consultório com peróxido de hidrogênio a 35% (Total Blanc Office, DFL), ativado com luz híbrida LED/LASER e a microabrasão de esmalte com pasta de acido fosfórico a 37% e pedra pomes, foram associados. Os resultados com o clareamento em consultório são imediatos, de forma que o profissional dispõe de total controle sobre aplicação do gel clareador em áreas e dentes específicos. A microabrasão do esmalte é um tratamento simples e custo relativamente baixo, remove as manchas superficiais do esmalte com preservação de estrutura dental. No caso apresentado, a associação das duas técnicas proporcionou a obtenção de excelente resultado estético em apenas uma sessão de atendimento.

Aesthetic analysis of an implant-supported denture at the cleft area

Objective: To evaluate the aesthetics of an implant-supported denture at the cleft area, comparing the peri-implant tissues and prosthetic crown with the contralateral tooth. Settings: Hospital for Rehabilitation of Craniofacial Anomalies, Bauru, São Paolo, Brazil. Patients: A total of 39 individuals of both genders, with complete unilateral cleft lip and palate, who received secondary alveolar bone graft and were rehabilitated with single implant-supported dentures at the area of the missing maxillary lateral incisor after completion of orthodontic treatment. Interventions: The following parameters were analyzed in follow-up sessions: length and width of prosthetic crown and contralateral tooth, characteristics of implants, filling of interproximal space by the papilla, and smile height of the patients. Results: The implant-supported prosthetic crowns were longer than the contralateral tooth (p < .001). Among the 78 papillae analyzed, 29 (37.17%) received a score of 3; 32 (41.02%) papillae had a score of 2; and 17 (21.79%) received a score of 1. Concerning the smile height, among the 39 patients analyzed, 23 (56.41%) had a medium smile, 15 (38.46%) had a high smile, and two (5.12%) presented a low smile. Conclusion: The use of dental implants to rehabilitate the edentulous cleft area is an excellent option. However, adequate evaluation of the bone quantity and quality, positioning and shape of adjacent teeth, smile height, and patient expectations should be considered to achieve success and avoid aesthetic deformities such as elongated teeth and absence of gingival papillae.

Vertical growth of mini watermelon according to the training height and plant density

The watermelon is traditionally cultivated horizontally on the ground. The cultivars of small fruits (1 to 3 kg), which reach better market prices, are also being grown in a greenhouse, where the plants are trained upward on vertical supports, with branches pruning and fruits thinning. These practices make possible an increase of the plant density, fruit quality and yield compared to the traditional growth system. The aim of this experiment was to evaluate the influence of three training heights (1.7, 2.2 and 2.7 m) and two planting densities (3.17 and 4.76 plants m-2) over the productive and qualitative characteristics of mini watermelon "Smile" cultivated in greenhouse. The pruning was done at 43, 55 and 66 days after transplanting (DAT), when the plant height reached 1.7, 2.2 and 2.7 m, respectively. The dry mass of branches, petioles, leaves and total were affected by the training height, where the highest values were obtained by the plants pruned at 2.2 and 2.7 m. Leaf area, specific leaf area and leaf area index were not affected by the height of the plants. The training height of 2.7 m raised the total yield, however, marketable yield, average fruit mass and all the quality characteristics did not differ significantly from those obtained by the training height of 2.2 m. Regarding to plant density, the best option was 4.76 plants m-2, due to the increasing of marketable yield in 37.4% without reducing the average weight of fruits.

Width of buccal and posterior corridors: differences between cases treated with asymmetric and symmetric extractions

OBJECTIVE: To verify if there is difference in the buccal and posterior corridor width in cases treated with extraction of one and four premolars. METHODS: Through posed smile photographs of 23 Class II patients, subdivision, treated with extraction of one premolar and 25 Class I and Class II patients, subdivision, treated with extraction of four premolars, the percentage of buccal and posterior corridor width was calculated. The two protocols of extractions were compared regarding the buccal and posterior corridor width by independent t tests. RESULTS: There was no statistically significant difference on the buccal and posterior corridor widths between patients treated with symmetric and asymmetric extraction. CONCLUSION: The buccal and posterior corridor did not differ between the evaluated protocols of extractions.

O Recuo Brutalista

Em conformidade com a dúvida de seu título, o difundido livro The New Brutalism: Ethic or Aesthetic? de Reyner Banham não é possível explicar o Brutalismo como manifestação artística coesa, dotada de consistência e reprodutibilidade formal. A citação de arquitetos famosos, porém divergentes, parece associar e comparar obras ásperas com a pretensão de reerguer uma arquitetura moderna considerada ascética, monótona e insuficiente e gera um teoricismo da aparência crua e do moralismo dos objetos. Discurso que oculta, ou desvia a atenção do retorno artístico à sublimidade e construção artesanal. O Brutalismo é aceito como evolução natural dos estágios modernos anteriores e sanciona artefatos toscos, pesados e inacabados como se fossem filiados ao processo moderno desinfestado. Esconde contradições e disfarça seu rompimento com o moderno para prolongar a expressão Movimento moderno. Mas o objeto claro, econômico e preciso é repudiado pelo consumidor e, por ser pouco representativo, o artista faz sua maquiagem com episódios contrastantes e monumentais na informalidade das cidades espontâneas. No entanto, parece possível suspender a noção positiva e corretiva do Brutalismo para entendê-lo como um recuo artístico vulgarizador que despreza aperfeiçoamento e afronta a atitude moderna com banalização conceptiva, exagero, figuralidade, musculação estrutural, grandeza tectônica, rudimento e rudeza. Assim, moralismo, retorno rústico e originalidade desqualificam a expressão International Style entendida como a culminação da arquitetura moderna do pós-guerra, ao depreciá-la como decadente, como produto imobiliário, comercial e corporativo a serviço do capital. Essa interpretação desvela uma crítica anti-industrial, portanto antimodernista e diversa da pós-modernidade, porém contestadora e realista para fornecer imagens à cultura e aos insensíveis à estrutura da forma moderna. Diverso da pós-modernidade pela dependência ao moderno e ausência de apelo popular. Tornada insignificante a configuração oportuna do artefato, o arquiteto tenta reter sua notabilidade artística, ou o prestígio que parece enfraquecer na aparência símile da especificação de catálogo, no rigor modular. Indispõe-se e repudia componentes, Standards e acabamentos impessoais da indústria da construção para insistir em autoria e inspiração, mas repete cacoetes estilísticos de época e o inexplicável uso intensivo de concreto bruto e aparente para sentir-se engajado e atualizado. Porém, é necessário distinguir obras de aparência severa concebidas pela atitude moderna mais autêntica das de concreto aparente em tipos ou configurações aberrantes. Para avançar na discussão do Brutalismo propõe-se entender este fenômeno com a substituição do juízo estético moderno de sentido visual postulado por Immanuel Kant (1724-1804) por um sentimento estético fácil e relacionado com a sensação da empatia, com a Einfühlung de Robert Vischer (1847-1933). Na época da cultura de massas, admite-se o rebaixamento das exigências no artefato e a adaptação brutalista com a transfiguração dos processos de arquitetura moderna. Assim, a forma é substituída pela figura ou pelo resumo material; a estrutura formal subjacente pelo ritmo e exposição da estrutura física; o reconhecimento visual pelo entusiasmo psicológico ou pelo impulso dionisíaco; a concepção substituída pelo partido, ou, ainda, pelo conceito; a sistematização e a ordem pela moldagem e a organização; a abstração e síntese pela originalidade e essencialidade, o sentido construtivo pela honestidade material; a identidade das partes pela fundição ou pela unicidade objetal e a residência pela cabana primitiva.

L'a(rche)tipico Brian O'Nolan. Comico e riso dalla tradizione al post-

This study aims at analysing Brian O'Nolans literary production in the light of a reconsideration of the role played by his two most famous pseudonyms ,Flann Brien and Myles na Gopaleen, behind which he was active both as a novelist and as a journalist. We tried to establish a new kind of relationship between them and their empirical author following recent cultural and scientific surveys in the field of Humour Studies, Psychology, and Sociology: taking as a starting point the appreciation of the comic attitude in nature and in cultural history, we progressed through a short history of laughter and derision, followed by an overview on humour theories. After having established such a frame, we considered an integration of scientific studies in the field of laughter and humour as a base for our study scheme, in order to come to a definition of the comic author as a recognised, powerful and authoritative social figure who acts as a critic of conventions. The history of laughter and comic we briefly summarized, based on the one related by the French scholar Georges Minois in his work (Minois 2004), has been taken into account in the view that humorous attitude is one of man’s characteristic traits always present and witnessed throughout the ages, though subject in most cases to repression by cultural and political conservative power. This sort of Super-Ego notwithstanding, or perhaps because of that, comic impulse proved irreducible exactly in its influence on the current cultural debates. Basing mainly on Robert R. Provine’s (Provine 2001), Fabio Ceccarelli’s (Ceccarelli 1988), Arthur Koestler’s (Koestler 1975) and Peter L. Berger’s (Berger 1995) scientific essays on the actual occurrence of laughter and smile in complex social situations, we underlined the many evidences for how the use of comic, humour and wit (in a Freudian sense) could be best comprehended if seen as a common mind process designed for the improvement of knowledge, in which we traced a strict relation with the play-element the Dutch historian Huizinga highlighted in his famous essay, Homo Ludens (Huizinga 1955). We considered comic and humour/wit as different sides of the same coin, and showed how the demonstrations scientists provided on this particular subject are not conclusive, given that the mental processes could not still be irrefutably shown to be separated as regards graduations in comic expression and reception: in fact, different outputs in expressions might lead back to one and the same production process, following the general ‘Economy Rule’ of evolution; man is the only animal who lies, meaning with this that one feeling is not necessarily biuniquely associated with one and the same outward display, so human expressions are not validation proofs for feelings. Considering societies, we found that in nature they are all organized in more or less the same way, that is, in élites who govern over a community who, in turn, recognizes them as legitimate delegates for that task; we inferred from this the epistemological possibility for the existence of an added ruling figure alongside those political and religious: this figure being the comic, who is the person in charge of expressing true feelings towards given subjects of contention. Any community owns one, and his very peculiar status is validated by the fact that his place is within the community, living in it and speaking to it, but at the same time is outside it in the sense that his action focuses mainly on shedding light on ideas and objects placed out-side the boundaries of social convention: taboos, fears, sacred objects and finally culture are the favourite targets of the comic person’s arrow. This is the reason for the word a(rche)typical as applied to the comic figure in society: atypical in a sense, because unconventional and disrespectful of traditions, critical and never at ease with unblinkered respect of canons; archetypical, because the “village fool”, buffoon, jester or anyone in any kind of society who plays such roles, is an archetype in the Jungian sense, i.e. a personification of an irreducible side of human nature that everybody instinctively knows: a beginner of a tradition, the perfect type, what is most conventional of all and therefore the exact opposite of an atypical. There is an intrinsic necessity, we think, of such figures in societies, just like politicians and priests, who should play an elitist role in order to guide and rule not for their own benefit but for the good of the community. We are not naïve and do know that actual owners of power always tend to keep it indefinitely: the ‘social comic’ as a role of power has nonetheless the distinctive feature of being the only job whose tension is not towards stability. It has got in itself the rewarding permission of contradiction, for the very reason we exposed before that the comic must cast an eye both inside and outside society and his vision may be perforce not consistent, then it is satisfactory for the popularity that gives amongst readers and audience. Finally, the difference between governors, priests and comic figures is the seriousness of the first two (fundamentally monologic) and the merry contradiction of the third (essentially dialogic). MPs, mayors, bishops and pastors should always console, comfort and soothe popular mood in respect of the public convention; the comic has the opposite task of provoking, urging and irritating, accomplishing at the same time a sort of control of the soothing powers of society, keepers of the righteousness. In this view, the comic person assumes a paramount importance in the counterbalancing of power administration, whether in form of acting in public places or in written pieces which could circulate for private reading. At this point comes into question our Irish writer Brian O'Nolan(1911-1966), real name that stood behind the more famous masks of Flann O'Brien, novelist, author of At Swim-Two-Birds (1939), The Hard Life (1961), The Dalkey Archive (1964) and, posthumously, The Third Policeman (1967); and of Myles na Gopaleen, journalist, keeper for more than 25 years of the Cruiskeen Lawn column on The Irish Times (1940-1966), and author of the famous book-parody in Irish An Béal Bocht (1941), later translated in English as The Poor Mouth (1973). Brian O'Nolan, professional senior civil servant of the Republic, has never seen recognized his authorship in literary studies, since all of them concentrated on his alter egos Flann, Myles and some others he used for minor contributions. So far as we are concerned, we think this is the first study which places the real name in the title, this way acknowledging him an unity of intents that no-one before did. And this choice in titling is not a mere mark of distinction for the sake of it, but also a wilful sign of how his opus should now be reconsidered. In effect, the aim of this study is exactly that of demonstrating how the empirical author Brian O'Nolan was the real Deus in machina, the master of puppets who skilfully directed all of his identities in planned directions, so as to completely fulfil the role of the comic figure we explained before. Flann O'Brien and Myles na Gopaleen were personae and not persons, but the impression one gets from the critical studies on them is the exact opposite. Literary consideration, that came only after O'Nolans death, began with Anne Clissmann’s work, Flann O'Brien: A Critical Introduction to His Writings (Clissmann 1975), while the most recent book is Keith Donohue’s The Irish Anatomist: A Study of Flann O'Brien (Donohue 2002); passing through M.Keith Booker’s Flann O'Brien, Bakhtin and Menippean Satire (Booker 1995), Keith Hopper’s Flann O'Brien: A Portrait of the Artist as a Young Post-Modernist (Hopper 1995) and Monique Gallagher’s Flann O'Brien, Myles et les autres (Gallagher 1998). There have also been a couple of biographies, which incidentally somehow try to explain critical points his literary production, while many critical studies do the same on the opposite side, trying to found critical points of view on the author’s restless life and habits. At this stage, we attempted to merge into O'Nolan's corpus the journalistic articles he wrote, more than 4,200, for roughly two million words in the 26-year-old running of the column. To justify this, we appealed to several considerations about the figure O'Nolan used as writer: Myles na Gopaleen (later simplified in na Gopaleen), who was the equivalent of the street artist or storyteller, speaking to his imaginary public and trying to involve it in his stories, quarrels and debates of all kinds. First of all, he relied much on language for the reactions he would obtain, playing on, and with, words so as to ironically unmask untrue relationships between words and things. Secondly, he pushed to the limit the convention of addressing to spectators and listeners usually employed in live performing, stretching its role in the written discourse to come to a greater effect of involvement of readers. Lastly, he profited much from what we labelled his “specific weight”, i.e. the potential influence in society given by his recognised authority in determined matters, a position from which he could launch deeper attacks on conventional beliefs, so complying with the duty of a comic we hypothesised before: that of criticising society even in threat of losing the benefits the post guarantees. That seemingly masochistic tendency has its rationale. Every representative has many privileges on the assumption that he, or she, has great responsibilities in administrating. The higher those responsibilities are, the higher is the reward but also the severer is the punishment for the misfits done while in charge. But we all know that not everybody accepts the rules and many try to use their power for their personal benefit and do not want to undergo law’s penalties. The comic, showing in this case more civic sense than others, helped very much in this by the non-accessibility to the use of public force, finds in the role of the scapegoat the right accomplishment of his task, accepting the punishment when his breaking of the conventions is too stark to be forgiven. As Ceccarelli demonstrated, the role of the object of laughter (comic, ridicule) has its very own positive side: there is freedom of expression for the person, and at the same time integration in the society, even though at low levels. Then the banishment of a ‘social’ comic can never get to total extirpation from society, revealing how the scope of the comic lies on an entirely fictional layer, bearing no relation with facts, nor real consequences in terms of physical health. Myles na Gopaleen, mastering these three characteristics we postulated in the highest way, can be considered an author worth noting; and the oeuvre he wrote, the whole collection of Cruiskeen Lawn articles, is rightfully a novel because respects the canons of it especially regarding the authorial figure and his relationship with the readers. In addition, his work can be studied even if we cannot conduct our research on the whole of it, this proceeding being justified exactly because of the resemblances to the real figure of the storyteller: its ‘chapters’ —the daily articles— had a format that even the distracted reader could follow, even one who did not read each and every article before. So we can critically consider also a good part of them, as collected in the seven volumes published so far, with the addition of some others outside the collections, because completeness in this case is not at all a guarantee of a better precision in the assessment; on the contrary: examination of the totality of articles might let us consider him as a person and not a persona. Once cleared these points, we proceeded further in considering tout court the works of Brian O'Nolan as the works of a unique author, rather than complicating the references with many names which are none other than well-wrought sides of the same personality. By putting O'Nolan as the correct object of our research, empirical author of the works of the personae Flann O'Brien and Myles na Gopaleen, there comes out a clearer literary landscape: the comic author Brian O'Nolan, self-conscious of his paramount role in society as both a guide and a scourge, in a word as an a(rche)typical, intentionally chose to differentiate his personalities so as to create different perspectives in different fields of knowledge by using, in addition, different means of communication: novels and journalism. We finally compared the newly assessed author Brian O'Nolan with other great Irish comic writers in English, such as James Joyce (the one everybody named as the master in the field), Samuel Beckett, and Jonathan Swift. This comparison showed once more how O'Nolan is in no way inferior to these authors who, greatly celebrated by critics, have nonetheless failed to achieve that great public recognition O’Nolan received alias Myles, awarded by the daily audience he reached and influenced with his Cruiskeen Lawn column. For this reason, we believe him to be representative of the comic figure’s function as a social regulator and as a builder of solidarity, such as that Raymond Williams spoke of in his work (Williams 1982), with in mind the aim of building a ‘culture in common’. There is no way for a ‘culture in common’ to be acquired if we do not accept the fact that even the most functional society rests on conventions, and in a world more and more ‘connected’ we need someone to help everybody negotiate with different cultures and persons. The comic gives us a worldly perspective which is at the same time comfortable and distressing but in the end not harmful as the one furnished by politicians could be: he lets us peep into parallel worlds without moving too far from our armchair and, as a consequence, is the one who does his best for the improvement of our understanding of things.

The language of others mirrored in thy face: The role of political affiliation in automatic facial effects of language

People tend to automatically mimic facial expressions of others. If clear evidence exists on the effect of non-verbal behavior (emotion faces) on automatic facial mimicry, little is known about the role of verbal behavior (emotion language) in triggering such effects. Whereas it is well-established that political affiliation modulates facial mimicry, no evidence exists on whether this modulation passes also through verbal means. This research addressed the role of verbal behavior in triggering automatic facial effects depending on whether verbal stimuli are attributed to leaders of different political parties. Study 1 investigated the role of interpersonal verbs, referring to positive and negative emotion expressions and encoding them at different levels of abstraction, in triggering corresponding facial muscle activation in a reader. Study 2 examined the role of verbs expressing positive and negative emotional behaviors of political leaders in modulating automatic facial effects depending on the matched or mismatched political affiliation of participants and politicians of left-and right-wing. Study 3 examined whether verbs expressing happiness displays of ingroup politicians induce a more sincere smile (Duchenne) pattern among readers of same political affiliation relative to happiness expressions of outgroup politicians. Results showed that verbs encoding facial actions at different levels of abstraction elicited differential facial muscle activity (Study 1). Furthermore, political affiliation significantly modulated facial activation triggered by emotion verbs as participants showed more congruent and enhanced facial activity towards ingroup politicians’ smiles and frowns compared to those of outgroup politicians (Study 2). Participants facially responded with a more sincere smile pattern towards verbs expressing smiles of ingroup compared to outgroup politicians (Study 3). Altogether, results showed that the role of political affiliation in modulating automatic facial effects passes also through verbal channels and is revealed at a fine-grained level by inducing quantitative and qualitative differences in automatic facial reactions of readers.

Natural course of pontocerebellar hypoplasia type 2A

INTRODUCTION Pontocerebellar hypoplasia Type 2 (PCH2) is a rare autosomal recessive condition, defined on MRI by a small cerebellum and ventral pons. Clinical features are severe developmental delay, microcephaly and dyskinesia.Ninety percent carry a p.A307S mutation in the TSEN54-gene. Our aim was to describe the natural course including neurological and developmental features and other aspects of care in a homogeneous group of PCH2 patients all carrying the p.A307S mutation. PATIENTS AND METHODS Patients were recruited via the German patients' organizations. Inclusion criteria were imaging findings of PCH2 and a p.A307S mutation. Data were collected using medical reports and patient questionnaires discussed in a standardized telephone interview. RESULTS Thirty-three patients were included. When considering survival until age 11 years, 53% of children had died Weight, length and head circumference, mostly in the normal range at birth, became abnormal, especially head circumference (-5.58 SD at age 5 yrs). Neurologic symptoms: Choreathetosis was present in 88% (62% with pyramidal signs), 12% had pure spasticity. Epileptic seizures were manifest in 82%, status epilepticus in 39%. Non-epileptic dystonic attacks occurred in 33%. General symptoms: feeding difficulties were recorded in 100%, sleep disorder in 96%, apneas in 67% and recurrent infections in 52%; gastroesophageal reflux disease was diagnosed in 73%, 67% got percutaneous endoscopic gastrostomy and 36% a Nissen-fundoplication. Neurodevelopmental data: All children made progress, but on a low level: such as fixing and following with the eyes was seen in 76%, attempting to grasp objects (76%), moderate head control (73%), social smile (70%), rolling from prone to supine (58%), and sitting without support (9%). Ten percent lost achieved abilities on follow-up. The presence of prenatal symptoms did not correlate with outcome. CONCLUSION Phenotype of this genetically homogeneous group of PCH2 children was severe with reduced survival, but compatible with some developmental progress. Our data support the hypothesis of an early onset degeneration which thereafter stabilizes.

Detección de Xanthomonas cucurbitae (Bryan) Vauterin et al. afectando frutos de zapallo coreano en Mendoza y San Juan, Argentina

Durante las campañas 2007/08 y 2008/09, en explotaciones comerciales de zapallo coreano (Cucurbita moschata Duch) de las zonas hortícolas de Mendoza y San Juan, se observaron sobre los frutos numerosas lesiones circulares, de 3 a 6 mm de diámetro, de aspecto húmedo, algo deprimidas hacia el centro, con un exudado gomoso color ámbar. Cuando las lesiones superficiales se unían, se desarrollaba una podredumbre gelatinosa hacia el interior de los tejidos, que podía profundizar hasta la cavidad seminal. El resultado final de la afección era una podredumbre seca y costrosa, que abarcaba gran parte del fruto, inutilizándolo para ser comercializado. En follaje también se observaron síntomas de la enfermedad, como manchas cloróticas angulares de 2 a 3 mm de lado, que en ocasiones se fusionaban. El objetivo del presente trabajo fue determinar la etiología de la enfermedad. Para ello, se tomaron y analizaron muestras de frutos y hojas afectadas, durante ambas temporadas. Se concluyó que la sintomatología es causada por una bacteria, que de acuerdo con los estudios morfobioquímicos y patogénicos es Xanthomonas cucurbitae (Bryan) Vauterin et al. Esta investigación constituye la primera cita de este patógeno afectando frutos en Argentina.

AVALIAÇÃO DAS ALTERAÇÕES DO SORRISO EM INDIVÍDUOS SUBMETIDOS À EXPANSÃO RÁPIDA DA MAXILA

O objetivo deste estudo foi avaliar as possíveis alterações das características horizontais, verticais, de simetria e do arco do sorriso de pacientes com atresia maxilar submetidos à expansão rápida da maxila. A amostra consistiu de 81 fotografias extra-bucais do sorriso máximo de 27 pacientes com idade média de 10 anos e 3 meses. Foram realizadas fotografias do sorriso máximo nos períodos: inicial (antes da instalação do aparelho expansor); 3 meses após a fixação do parafuso expansor; 6 meses após a fixação do parafuso expansor. Para a calibragem e análise das fotografias foi utilizado o programa CEFX 2001 CDT. Os pontos fotométricos e as medidas a serem analisadas foram escolhidos após revisão da literatura do sorriso realizada. Para avaliar as alterações no sorriso durante as fases, foi utilizada a análise de variância ANOVA, com nível de significância de 5%. A expansão rápida da maxila promoveu aumento estatisticamente significante da dimensão transversal do sorriso; aumento da quantidade de exposição dos incisivos centrais e laterais superiores; manutenção da simetria entre os lados direito e esquerdo e da falta de paralelismo entre a curvatura das bordas dos incisivos superiores com a curvatura do lábio inferior (arco do sorriso).(AU)