282 resultados para Acne vulgar


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

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Pós-graduação em Estudos Linguísticos - IBILCE

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Pós-graduação em Medicina Veterinária - FMVZ

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Pós-graduação em Letras - FCLAS

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

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

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Os sistemas nanoestruturados são capazes de aumentar a permeação de um fármaco sem alterar as suas propriedades e direcioná-lo para regiões específicas favorecendo a interação com sistemas biológicos. Algumas formações dos sistemas nanoestruturados cristais líquidos, microemulsões podem permitir a liberação lenta do fármaco o que propicia um efeito mais prolongado da ação deste, aumento da solubilidade e estabilidade de fármacos, capacidade de agir como sistemas reservatórios, diminuição da toxicidade, bem como melhor a biodisponibilidade dos fármacos. A dexametasona (DMA) é um corticóide muito utilizado, mas que possui muitos efeitos colaterais,como eritema,hipertensão arterial,acne,aumento de peso e apetite,entre outros,devido sua capacidade de atravessar o estrato córneo por difusão, assim ele é capaz de alcançar a circulação e causar efeitos colaterais sistêmicos. Para diminuir a ação desses efeitos indesejáveis é preciso controlar a permeação desta classe de fármaco e aumentando a sua retenção cutânea. O objetivo deste trabalho foi avaliar o potencial de sistemas nanoestruturados estabilizados com álcool cetílico etoxilado e propoxilado(PRO) como tensoativo, ácido oléico (AO) ou óleo mineral (OM) como fases oleosas para a administração cutânea de DMA. Estas fases oleosas foram selecionadas por apresentarem características físico-químicas diferentes, bem como promoveram diferenças estruturais em formulações de estudos anteriores. A caracterização por microscopia de luz polarizada mostrou que a dexametasona pouco interfere na estruturação das formulações. A reologia mostrou que as formulações, com ácido oléico como fase oleosa, AO1 e AO2 são as formulações com melhores condições de aplicação cutânea. Os cristais líquido de fase cúbica, foram os que mais foram capazes de solubilizar DMA, além de apresentarem... (Resumo completo, clicar acesso eletrônico abaixo)

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Photodynamic therapy is a method of healing skin lesions , in addition to radiotherapy and brachytherapy are commonly used in the treatment of skin cancers , but it is still little known in Brazil , consisting of the application to the skin of a drug in the form of cream or lotion ( photosensitizer ) . It is absorbed by tumor cells and subsequently activated by light device , that wavelength of light in the order of 630 nanometers , promoting the selective destruction of cancer cells while preserving healthy cells around the lesion . It can be considered highly effective for treatment of skin cancer types of non-melanoma ( basal cell carcinoma , 85-100 % success in curing [ 3 ] , and Bowen's disease), actinic keratoses , which are precancerous lesions and still no studies that prove also action in the treatment of acne and aging caused by the sun . And the advantage of this treatment is that , when indicated , replace the surgical procedure , selectively treating the diseased cells . Thus, it offers better cosmetic results, reducing the risk of scarring [ 4 ]

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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The aim of this study was to investigate the rheological properties and antibacterial efficacy of chitosan/ alpha-hydroxy acids (lactic acid and glycolic acid) and cellulose polymers, both in hydrogels, in order to produce a formulation with improved activity against Propionibacterium acnes and Staphylococcus aureus, which can potentially be used in the treatment of acne. The rheological characterisation of the hydrogels was examined using continuous shear and viscoelastic creep. The antibacterial activities of formulations were performed by the well diffusion and broth microdilution. The hydrogels formulated with only chitosan showed pseudoplastic behavior while the chitosan hydrogels with cellulose polymers presented viscoelastic properties. The antibacterial activity was proportional to AHA and chitosan concentration. It was enhanced at low pH values and with high molecular weight chitosan and did not change with the incorporation of two cellulose polymers. The antibacterial mechanism of chitosan has currently been hypothesized as being related to surface interference. The results show that chitosan - based hydrogels containing AHA and cellulose polymers are viscoelastic,indicating good applicability onto the skin, and they present bacterial activity under various experimental conditions.

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We live in a world of chemicals. Unfortunately, some of the characteristics that make household chemical products the most useful are the same qualities that lead to trouble when these products are carelessly handled. A chemical stain or spot is a serious kind of stain that is appearing with increasing frequency and is different from ordinary stains. This type of discoloration or color is caused by a variety of chemical ingredients contains in dozens of common household products. This NebFact discusses the different chemical spots, stains and discolorations that are found in your home furnishings.

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Examination of scatological motifs in Théophile de Viau’s (1590-1626) libertine, or ‘cabaret’ poetry is important in terms of how the scatological contributes to the depiction of the Early Modern body in the French lyric.1 This essay does not examine Théophile’s portrait of the body strictly in terms of the ‘Baroque’ or the ‘neo-Classical.’ Rather, it argues that the scatological context in which he situates the body (either his, or those of others), reflects a keen sensibility of the body representative of the transition between these two eras. Théophile reinforces what Bernard Beugnot terms the body’s inherent ‘eloquence’ (17), or what Patrick Dandrey describes as an innate ‘textuality’ in what the body ‘writes’ (31), and how it discloses meaning. The poet’s scatological lyric, much of which was published in the Pamasse Satyrique of 1622, projects a different view of the body’s ‘eloquence’ by depicting a certain realism and honesty about the body as well as the pleasure and suffering it experiences. This Baroque realism, which derives from a sense of the grotesque and the salacious, finds itself in conflict with the Classical body which is frequently characterized as elegant, adorned, and ‘domesticated’ (Beugnot 25). Théophile’s private body is completely exposed, and, unlike the public body of the court, does not rely on masking and pretension to define itself. Mitchell Greenberg contends that the body in late sixteenth-century and early seventeenth-century French literature is often depicted in a chaotic manner because, ‘the French body politic was rent by tumultuous religious and social upheavals’ (62).2 While one could argue that Théophile’s portraits of a syphilis-ridden narrators are more a reflection of his personal agony rather than that of France as a whole, what emerges in Théophile is an emphasis on the movement, if not decomposition of the body.3 Given Théophile’s public persona and the satirical dimension of his work, it is difficult to imagine that the degeneration he portrays is limited only to his individual experience. On a collective level, Théophile reflects what Greenberg calls ‘a continued, if skewed apprehension of the world in both its physical and metaphysical dimensions’(62–3) typical of the era. To a large extent, the body Théophile depicts is a scatological body, one whose deterioration takes the form of waste, disease, and evacuation as represented in both the private and public domain. Of course, one could cast aside any serious reading of Théophile’s libertine verse, and virtually all of scatological literature for that matter, as an immature indulgence in the prurient. Nonetheless, it was for his dissolute behavior and his scatological poetry that Théophile was imprisoned and condemned to death. Consequently, this part of his work merits serious consideration in terms of the personal and poetic (if not occasionally political) statement it represents. With the exception of Claire Gaudiani’s outstanding critical edition of Théophile’s cabaret lyric, there exist no extensive studies of the poet’s libertine œuvre.4 Clearly however, these poems should be taken seriously with respect to their philosophical and aesthetic import. As a consequence, the objective becomes that of enhancing the reader’s understanding of the lyric contexts in which Théophile’s scatological offerings situate themselves. Structurally, the reader sees how the poet’s libertine ceuvre is just that — an integrated work in which the various components correspond to one another to set forth a number of approaches from which the texts are to be read. These points of view are not always consistent, and Théophile cannot be thought of as writing in a sequential manner along the lines of devotional Baroque poets such as Jean de La Ceppède and Jean de Sponde. However, there is a tendency not to read these poems in their vulgar totality, and to overlook the formal and substantive unity in this category of Théophile’s work. The poet’s resistance to poetic and cultural standards takes a profane, if not pornographic form because it seeks to disgust and arouse while denigrating the self, the lyric other, and the reader. Théophile’s pornography makes no distinction between the erotic and scatological. The poet conflates sex and shit because they present a double form of protest to artistic and social decency while titillating and attacking the reader’s sensibilities. Examination of the repugnant gives way to a cathartic experience which yields an understanding of, if not ironic delight in, one’s own filthy nature.