Persistence of varicella-zoster virus viraemia in patients with herpes zoster.

BACKGROUND: Herpes zoster is caused by the reactivation of varicella-zoster virus from sensory neurons. The commonest complication following zoster is chronic pain termed post herpetic neuralgia. OBJECTIVES: To investigate the dynamics of VZV viraemia and viral load following the resolution of zoster and its relationship to PHN development. STUDY DESIGN: Blood samples were collected at baseline, 1 month, 3 months and 6 month from a prospective study of 63 patients with active zoster. Quantification of VZV DNA in whole blood was performed using a real-time PCR assay. RESULTS: During acute zoster, all patients had detectable VZV DNA in their blood. VZV DNA remained detectable in the blood of 91% of patients at 6 months although levels declined significantly (p<0.0001). A history of prodromal symptoms (p=0.005) and severity of pain at baseline (p=0.038) as well as taking antivirals (p=0.046) and being immunocompromised (p=0.043) were associated, with longer time to recovery from PHN. Viral DNA loads were consistently higher in patients with risk factors for PHN and higher viral DNA loads over time were associated with longer time to recovery (p=0.058 overall and 0.038 in immunocompetent). CONCLUSIONS: Based on these observations we hypothesise that VZV replication persists following acute shingles and that higher viral DNA loads contribute to the risk factors for PHN.

Plastic films for polytunnels can prolong the effective residual life of cypermethrin to over 6 months

Synthetic pyrethroid insecticides are degraded almost entirely by ultraviolet (UV)-catalysed oxidation. A bioassay using the beetle Tribolium confusum duVal caged on bandages soaked in 0.04% a.i. cypermethrin showed large differences in residual insecticide-life under three plastic films available for cladding polytunnels. Cypermethrin exposed to a UV film that transmitted 70% of UVB and 80% of UVA killed all beetles for 8 weeks, compared to only 3 weeks for cypermethrin exposed in a clear plastic envelope. Cypermethrin under a UV-absorbing film that reduced the transmission of UVB and UVA to 14% and 50%, respectively, gave a complete kill for 17 weeks. Reducing the transmission of UVB to virtually zero, and that of UVA to only 3%, using a UV-opaque film prolonged the effective life of the cypermethrin residue to 26 weeks, and some beetles were still killed for a further 11 weeks. Even after this time, beetles exposed to cypermethrin from the UV-opaque treatment were still affected by the insecticide, and only showed near-normal mobility after 24 months of pesticide exposure to the UV-opaque film. These results have implications for the recommended intervals between cypermethrin treatment and crop harvest, and on the time of introduction of insect-based biological control agents, when UV-opaque films are used in commercial horticulture.

The long and the short of it: negotiating the right space for Asian theatre in the university drama curriculum

This article compares two approaches to teaching Asian theatre at undergraduate level in the United Kingdom. One approach samples a variety of different traditions as a means to challenge students to produce performance for a combined audience of hearing and deaf, whereas the other focuses on the effect of exploring one geographical area intensively over the course of one academic year. The article seeks to highlight the merits and pitfalls of both approaches, and questions whether student work that actively questions ethnicity and identity, as well as the tension between innovation and tradition, might be considered diasporic in character.

The experience of immediacy: emotion and enlistment in fact-based theatre

This article discusses emotion as a strategy of political agency in post-Thatcherite documentary theatre. The 1990s saw a renaissance in theatre writing based in directness and immediacy but based in two quite different forms of drama, In-Yer-Face theatre and fact-based drama. There are clear distinctions between these forms: the new brutalist writing was aggressively provocative; documentary theatre engaged the audience by revealing an urgent truth. Both claimed a kind of realism that confronted actuality, be that of situation or experience, through forms of theatre that cultivated emotional engagement. In-Yer-Face theatre used emotional shock to penetrate the numb cynicism that its creators perceived. Documentary theatre used observation and the cultivation of sympathy to enlist its audience in a shared understanding of what was hidden, not understood or not noticed. The article analyses the functioning of emotional enlistment to engage the audience politically in two examples of documentary theatre, Black Watch and Guantanamo