Phylogenetic and physiological characterization of a heterotrophic, chemolithoautotrophic Thiothrix strain isolated from activated sludge

The sheathed filamentous bacterium known as strain CT3, isolated by micromanipulation from an activated sludge treatment plant in Italy, is a member of the genus Thiothrix in the gamma-Proteobacteria according to 16S rDNA sequence analysis. The closest phylogenetic neighbours of strain CT3 are strains I and Q(T), which were also isolated from activated sludge and belong to the species Thiothrix fructosivorans. These strains have respectively 99.2 and 99.4 % similarity to CT3 by 16S rDNA sequence comparison. CT3 shows 63-67 % DNA-DNA hybridization with strain I, which is the only currently viable strain of T. fructosivorans. CT3 is the second strain in the genus Thiothrix that has been shown to be capable of growing autotrophically with reduced sulfur compounds as the sole energy source; autotrophy was also confirmed in strain I. The first reported chemolithoautotrophic isolate of this genus was a strain of 'Thiothrix ramosa' that was isolated from a hydrogen sulfide spring and is morphologically distinguishable from all other described strains of Thiothrix, including CT3. CT3 is an aerobic organism that is non-fermentative, not capable of denitrification and able to grow heterotrophically. Autotrophy in the genus Thiothrix should be investigated more fully to better define the taxonomy of this genus.

Ergot of rye - the first specific for migraine

Over the past decade the various triptan derivatives have been accepted as the most effective available agents for relieving migraine attacks. Prior to that, for a period of half a century, ergotamine was the only 'specific' available for this purpose. In 1918, Stoll had isolated it from the various alkaloids present in extracts of the sclerotia of the fungus Claviceps purpurea (ergot), which grow on rye and, to a lesser extent, on other grasses. By 1925 ergotamine was beginning to be used to treat migraine attacks. However, as ergotamine was present in extracts of ergot, which had been used to treat migraine first, In Italy in 1862, and then by Edward Woakes (11868) in England, and after him by Albert Eulenburg in Germany (1883), the drug had actually come into unrecognised use for the disorder more than half a century before ergotamine itself was known to exist. Unfortunately, because of ergotamine's chemical and pharmacokinetic properties, extracts of ergot of rye were incapable of producing consistent therapeutic results, so that general acceptance that the first specific substance for migraine treatment existed had to wait until pure ergotamine was available for administration. (C) 2003 Elsevier Ltd. All rights reserved.

ASSOCIATIVISMO EMPRESARIAL ENTRE MICRO E PEQUENAS EMPRESAS: A EXPERIÊNCIA DO GRANDE ABC COM O PROJETO EMPREENDER (SEBRAE)

O associativismo empresarial aparece como forma de desenvolvimento regional, seja este econômico, social ou cultural, e é grande aliado para o surgimento e crescimento das micro e pequenas empresas. É um tema já vivenciado e estudado por vários países do mundo, entre eles europeus e especificamente italianos, mas ainda pouco estudado e conhecido no Brasil. A presente pesquisa objetivou analisar o associativismo empresarial entre micro e pequenas empresas (MPEs) na região do Grande ABC (GABC) pelo Projeto Empreender (SEBRAE) relacionando seus dados com os publicados do relatório 2003/5 de autoria do Observatório Europeu de estudos sobre pequenas e médias empresas europeias, analisando as formas de associativismo aqui ocorridas, além de identificar o perfil das empresas e empresários envolvidos no projeto. Para tal análise foram coletados dados de um total de 63 empresas do Projeto Empreender, nos núcleos de Santo André, São Caetano do Sul e Ribeirão Pires. Do GABC foram coletados dados utilizando o instrumento desenvolvido pelo Observatório Europeu de estudos sobre pequenas e médias empresas. A análise dos dados coletados no GABC em relação aos dados europeus se fez necessária para que pudessem ser encontrados pontos de divergências e convergências em cada uma das experiências, objetivando o aprendizado e evolução do tema. A escolha do GABC foi motivada pelo fato da região passar por mudanças no seu perfil econômico, passando de berço e grande pólo das grandes indústrias para um grande centro de pequenas empresas prestadoras de serviços. Após coleta e análise dos dados, percebeu-se que a experiência do GABC e a ocorrida na Itália se parecem em muitos aspectos, porém tem grandes diferenças estruturais. Enquanto o projeto europeu é de responsabilidade de um órgão da União Europeia, aqui o projeto é de autoria do SEBRAE e sofre grandes conflitos com as Associações Comerciais e Industriais (ACIs) da região quando o tema é custeio das despesas das pessoas e estrutura que envolve a implantação do projeto. Além disso, conclui-se que é necessária uma maior aproximação dos municípios com o projeto, tendo em vista que isto poderia ser fator de incentivo a entrada de novas empresas além de fator de aumento de seriedade do sistema. Mais dois dados merecem destaque. Primeiro o fato do Projeto Empreender ter pouca visibilidade regional, ou seja, ser muito pouco divulgado, e o fato da agência de desenvolvimento do GABC não ter aproximação alguma com o projeto. Por último, surgem dados no decorrer da pesquisa que rompem a barreira das teorias administrativas conhecidas, tais como a amizade como fator de associativismo. Portanto, os resultados obtidos com essa pesquisa apontam para a influência no incentivo ao desenvolvimento do processo associativista na região do GABC, além de servir como incentivador para a aproximação de outros atores sociais no processo.(AU)

Comportamento sotto sisma di strutture rigide o deformabili: due casi di studio estremi

In Italia molti edifici sono stati costruiti senza tenere in considerazione l'azione sismica. La necessità di adeguare tali edifici in accordo con la normativa italiana vigente è stato il motivo scatenante di questa ricerca. Per l'adeguamento sismico, vengono qui proposti differenti approcci in base al tipo di struttura e, in particolare, in base alla loro deformabilità. Per le strutture flessibili come le scaffalature di acciaio adibite alla stagionatura del Parmigiano Reggiano, sono stati utilizzati dispositivi passivi di dissipazione energetica. Sono state condotte analisi di sensitività per determinare il coefficiente di smorzamento in grado di minimizzare lo stato tensionale nelle sezioni di interesse. I risultati delle analisi mostrano l'efficacia delle soluzioni proposte e potrebbero rappresentare un punto di partenza per la definizione di possibili contromisure standar per l'adeguamento sismico. Per le strutture rigide, come i ponti in muratura, sono stati definiti alcuni criteri per la modellazione e la verifica delle sezioni di interesse, utilizzando modelli semplificati ma dall'efficacia comprovata come termine di paragone.

Total factor productivity and the spillover hypothesis: some new evidence

In this paper I test the spillover hypothesis of the endogenous growth literature on a sample of manufacturing firms in Italy, 1989–1994, using a new approach based on the Malmquist index. First, I measure the productivity growth registered by the high- and non-high-tech firms computing the Malmquist index with DEA. I decompose it into technical change and technical efficiency change. Then I test whether the technical change registered by high-tech firms affects productivity growth of non-high-tech firms, after controlling for factors which can potentially affect productivity growth.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

The Gilles de la Tourette Syndrome-Quality of Life Scale for children and adolescents (C&A-GTS-QOL):development and validation of the Italian version

BACKGROUND: Gilles de la Tourette syndrome (GTS) is a chronic childhood-onset neuropsychiatric disorder with a significant impact on patients' health-related quality of life (HR-QOL). Cavanna et al. (Neurology 2008; 71: 1410-1416) developed and validated the first disease-specific HR-QOL assessment tool for adults with GTS (Gilles de la Tourette Syndrome-Quality of Life Scale, GTS-QOL). This paper presents the translation, adaptation and validation of the GTS-QOL for young Italian patients with GTS. METHODS: A three-stage process involving 75 patients with GTS recruited through three Departments of Child and Adolescent Neuropsychiatry in Italy led to the development of a 27-item instrument (Gilles de la Tourette Syndrome-Quality of Life Scale in children and adolescents, C&A-GTS-QOL) for the assessment of HR-QOL through a clinician-rated interview for 6-12 year-olds and a self-report questionnaire for 13-18 year-olds. RESULTS: The C&A-GTS-QOL demonstrated satisfactory scaling assumptions and acceptability. Internal consistency reliability was high (Cronbach's alpha > 0.7) and validity was supported by interscale correlations (range 0.4-0.7), principal-component factor analysis and correlations with other rating scales and clinical variables. CONCLUSIONS: The present version of the C&A-GTS-QOL is the first disease-specific HR-QOL tool for Italian young patients with GTS, satisfying criteria for acceptability, reliability and validity. © 2013 - IOS Press and the authors. All rights reserved.

ICT adoption by logistics service providers:developing a learning agenda

Recent years have seen innovations in the logistics and freight transport industry in relation to Information and communication technologies (ICT) diffusion. The implementation of such technologies by third party logistics providers (3PLs) allows the real-time exchange of information between supply chain partners, thereby improving planning capability and customer service. However, the logistics and freight transport industry is lagging somewhat behind other sectors in ICT diffusion. In relation to the latter point, it is important to note that the dissemination of ICT in logistics and supply chain management (SCM) is shifting the 3PL industry to an increasingly knowledge-intensive approach. In this process, the role of learning becomes more central and an assessment of the impact of future ICT learning needs for the logistics providers is a strategic imperative. The aim of this paper is to assess the impact of ICT on logistics and freight transport industry in Italy and Ireland, and to identify learning needs for more effective ICT adoption in 3PLs.

International session at the BCLA conference

Full text: It seems a long time ago now since we were at the BCLA conference. The excellent FIFA World Cup in Brazil kept us occupied over the summer as well as Formula 1, Wimbledon, Tour de France, Commonwealth Games and of course exam paper marking! The BCLA conference this year was held in Birmingham at the International Convention Centre which again proved to be a great venue. The number of attendees overall was up on previous years, and at a record high of 1500 people. Amongst the highlights at this year's annual conference was the live surgery link where Professor Sunil Shah demonstrated the differences in technique between traditional phacoemulsification cataract surgery and femtosecond assisted phacoemulsification cataract surgery. Dr. Raquel Gil Cazorla, a research optometrist at Aston University, assisted in the procedure including calibrating the femtosecond laser. Another highlight for me was the session that I chaired, which was the international session organised by IACLE (International Association of CL Educators). There was a talk by Mirjam van Tilborg about dry eye prevalence in the Netherlands and how it was managed by medical general practitioners (GPs) or optometrists. It was interesting to know that there are only 2 schools of optometry there and currently under 1000 registered optometrists there. It also seems that GPs were more likely to blame CL as the cause for dry eye whereas optometrists who had a fuller range of tests were better at solving the issue. The next part of the session included the presentation of 5 selected posters from around the world. The posters were also displayed in the main poster area but were selected to be presented here as they had international relevance. The posters were: 1. Motivators and Barriers for Contact Lens Recommendation and Wear by Nilesh Thite (India) 2. Contact lens hygiene among Saudi wearers by Dr. Ali Masmaly (Saudi) 3. Trends of contact lens prescribing and patterns of contact lens practice in Jordan by Dr. Mera Haddad (Jordan) 4. Contact Lens Behaviour in Greece by Dr. Dimitra Makrynioti (Greece) 5. How practitioners inform ametropes about the benefits of contact lenses and overcome the potential barriers: an Italian survey, by Dr. Fabrizio Zeri (Italy) It was interesting to learn about CL practice in different parts, for example the CL wearing population ration in Saudi Arabia is around 1:2 Male:Female (similar to other parts of the world) and although the sale of CL is restricted to registered practitioners there are many unregistered outlets, like clothing stores, that flout the rules. In Jordan some older practitioners will still advise patients to use tap water or even saliva! But thankfully the newer generation of practitioners have been educated not to advise this. In Greece one of the concerns was that some practitioners may advise patients to use disposable lenses for longer than they should and again it seems to be the practitioners with inadequate education that would do this. In India it was found that cost was one barrier to using contact lenses but also some practitioners felt that they shouldn’t offer CLs due to cost too. In Italy sensitive eyes and CL care and maintenance were the barriers to CL wear but the motivators were vision and comfort and aesthetics. Finally the international session ended with the IACLE travel award and educator awards presented by IACLE president Shehzad Naroo and BCLA President Andrew Yorke. The travel award went to Wang Ling, Jinling Institute of Technology, Nanjing, China. There were 3 regional Contact Lens Educator of the Year Awards sponsored by Coopervision and presented by Dr. J.C. Aragorn of Coopervision. 1. Asia Pacific Region – Dr. Rajeswari Mahadevan of Sankara Nethralaya Medical Research Foundation, Chennai, India 2. Americas Region – Dr. Sergio Garcia of University of La Salle, Bogotá and the University Santo Tomás, Bucaramanga, Colombia 3. Europe/Africa – Middle East Region: Dr. Eef van der Worp, affiliated with the University of Maastricht, the Netherlands The posters above were just a small selection of those displayed at this year's BCLA conference. If you missed the BCLA conference then you can see the abstracts for all posters and talks in a virtual issue of CLAE very soon. The poster competition was kindly sponsored by Elsevier. The poster winner this year was: Joan Gispets – Corneal and Anterior Chamber Parameters in Keratoconus The 3 runners up were: Debby Yeung – Scleral Lens Central Corneal Clearance Assessment with Biomicroscopy Sarah L. Smith – Subjective Grading of Lid Margin Staining Heiko Pult – Impact of Soft Contact Lenses on Lid Parallel Conjunctival Folds My final two highlights are a little more personal. Firstly, I was awarded Honorary Life Fellowship of the BCLA for my work with the Journal, and I would like to thank the BCLA, Elsevier, the editorial board of CLAE, the reviewers and the authors for their support of my role. My final highlight from the BCLA conference this year was the final presentation of the conference – the BCLA Gold Medal award. The recipient this year was Professor Philip Morgan with his talk ‘Changing the world with contact lenses’. Phil was the person who advised me to go to my first BCLA conference in 1994 (funnily he didn’t attend himself as he was busy getting married!) and now 20 years later he was being honoured with the accolade of being the BCLA Gold Medallist. The date of his BCLA medal addressed was shared with his father's birthday so a double celebration for Phil. Well done to outgoing BCLA President Andy Yorke and his team at the BCLA (including Nick Rumney, Cheryl Donnelly, Sarah Greenwood and Amir Khan) on an excellent conference. And finally welcome to new President Susan Bowers. Copyright © 2014 British Contact Lens Association. Published by Elsevier Ltd. All rights reserved.

A magyar átalakulás és fejlődés néhány általánosítható elméleti tanulsága = Some generalizable theoretical lessons of the Hungarian transformation and development

A világgazdasági válság óta eltelt nyolc évtizedben Magyarországon számos rendszerváltozás ment végbe a gazdaságban és a politikában. Sokak szerint a szabadpiactól a szabadpiacig vezető kör bezárult, és ismét rendszerválság előtt állunk. Míg a jövő természetesen bizonytalanságokkal terhes, és így értelemszerűen nem kiszámítható, a múlt egyértelmű tanulsága az, hogy a közéletet végig formáló felzárkózási törekvés egészében sikertelennek bizonyult. Ennek alapja elemzésünk központi rejtélye egy régi fejlődéselméleti feladvány: miért van az, hogy Argentínához vagy újabban Olaszországhoz és Portugáliához hasonlóan a jó politika rossz eredményekkel jár(t), és fordítva? Miért szakadt el végletesen és történetileg is a gazdasági és a politikai ésszerűség egymástól? __________________ Hungary has undergone several changes of economic and political system in the eighty years since the Great Depression. According to many, the circle from market economy to market economy has closed and we face another systemic crisis. Although the future is naturally full of uncertainties and is not by its very nature predictable, the clear lesson from the past is that the effort to catch up, which shaped public life throughout, has been unsuccessful on the whole. The basis for this and the central riddle in this analysis is an old puzzle in development theory: how is it that good policies had bad results and vice versa, as was the case in Argentina, and recently in Italy and Portugal? Why did economic and political rationality part company for good, even in historical terms?

The use of methane as automotive fuel – a step to sustainable economy?

The introduction of CNG (Compressed Natural Gas) as automotive fuel began in Italy as early as in mid- 1930s, and ever since the Italian market has always been highly advanced in this regard. Many other countries followed, some of them quite recently, but nevertheless with impressive results. The appeal of this automotive fuel is based on the fact that compared to gasoline, diesel and LPG (Liquefied Petroleum Gas), CNG is cleaner and cheaper; even more so, this fuel is renewable – it can be produced locally from biogas. Despite its obvious benefits, CNG is barely present in Hungary. This article provides an insight into the topic, highlights obstacles to introduction and suggests appropriate governmental steps. The information is intended to support the activities and the decision-making process of governmental officials, municipalities, car-fleet managers, car dealers and their service departments.

Italianità on Tour: From the Mediterranean to Southeast Florida, 1896-1939

Italianità on Tour is a cultural history of Italian consciousness in Italy and Southeast Florida from 1896 to 1939. This dissertation examines literary works, folktales, folksongs, artworks, buildings and urban planning as imprints and cultural constructions of Italianità on both sides of the Atlantic, with a special emphasis on the transformations experienced on that journey. The real and/or imagined geo-cultural similarities between the Mediterranean and the Caribbean encouraged pioneers in Southeast Florida to conjure in their new setting an idea of Italianità , regardless of the presence of Italians in the area. Therefore, assessing Italianità, constitutes an important feature in understanding cultural constructions of identities in Miami and neighboring areas. This study, seeks to add Southeast Florida's Caribbean-Italian identity to the existing scholarship on several Italian diaspora representations, whether from a cultural ethnic perspective or from a sense of national belonging. More generally, it will show that there was no quintessential Italian national culture, but only representations of it that élites in Italy and South Florida manufactured, and on the other hand, immigrants imagined and performed upon arrival to America.

Investigation on performance characteristics of dense graded hot mix asphalt with RAP and crumb rubber

The objective of this study was to fundamentally characterize the laboratory performance of traditional hot mix asphalt (HMA) mixtures incorporating high RAP content and waste tire crumb rubber through their fundamental engineering properties. The nominal maximum aggregates size was chosen for this research was 12mm (considering the limitation of aggregate size for surface layer) and both coarse and fine aggregates are commonly used in Italy that were examined and analyzed in this study. On the other hand, the RAP plays an important role in reducing production costs and enhancing the environmentally sustainable pavements instead of using virgin materials in HMA. Particularly, this study has aimed to use 30% of RAP content (25% fine aggregate RAP and 5% coarse aggregate RAP) and 1% of CR additives by the total weight of aggregates for mix design. The mixture of aggregates, RAP and CR were blended with different amount of unmodified binder through dry processes. Generally, the main purposes of this study were investigating on capability of using RAP and CR in dense graded HMA and comparing the performance of rejuvenator in RAP with CR. In addition, based on the engineering analyses during the study, we were able compare the fundamental Indirect Tensile Strength (ITS) value of dense graded HMA and also mechanical characteristics in terms of Indirect Tensile Stiffness Modulus (ITSM). In order to get an extended comparable data, four groups of different mixtures such as conventional mixture with only virgin aggregates (DV), mixture with RAP (DR), mixture with RAP and rejuvenator (DRR), and mixture with RAP, rejuvenator, CR (DRRCr) were investigated in this research experimentally. Finally, the results of those tests indicated that the mixtures with RAP and CR had the high stiffness and less thermal sensitivity, while the mixture with virgin aggregates only had very low values in comparison.

Historia del Instituo Lorente, (1894-1997)

Introduction. This thesis is the result of study of the Llorente Institute since its origins, contemporaries of the Pasteur Institute in France and in Sclavo Institute in Italy, until its disappearance in 1997 as a pharmaceutical laboratory. Synthesis. The first objective was to demonstrate the development of research activity of Llorente Institute. It was also intended to clarify what were the real causes of its decline, which can be attributed not only to internal factors, but also to general policies that concerned a set of pharmaceutical companies. Dr. Vicente Llorente figure is not the essential part of this thesis, although it have made new contributions about on their way through politics as a member of the Restoration Parliament during the legislatures between 1899 and 1905. Research carried out in the General Archive of the State Administration and in the Mercantile Register are the main sources of this research, together with the testimony and unpublished documents provided by his last owners. Also, it has been important to the development of products that constituted the vademecum of Llorente Institute...

Imagined intergroup contact facilitates intercultural communication for college students on academic exchange programs

Imagined intergroup contact (Crisp & Turner, 2009) is a new cognitive intervention designed to improve intergroup relations. In two studies, we examined whether it could also facilitate intercultural communication among international students and host country natives engaged in a college exchange program. In Study 1, international students who had recently arrived in Italy and participated in an imagined contact session displayed increased self-disclosure toward, and improved evaluation of, host country natives. In Study 2, Italian students mentally simulated positive contact with an unknown native from the host country prior to leaving for the exchange. Results from an online questionnaire administered on their return (on average, more than 7 months after the imagery task) revealed that participants who imagined contact reported spending more time with natives during the stay and enhanced outgroup evaluation, via reduced intergroup anxiety. Implications for enhancing the quality and effectiveness of college student exchange programs are discussed.