Unusual erythematous plaque with white scales, a case of acquired syphilis in a child and literature review

Background Syphilis in children is uncommon with the mode of infection for this rare condition likely being congenital or acquired. While most acquired cases of syphilis in children result from sexual abuse, children can also be infected with syphilis through kissing, breastfeeding, sharing of daily necessities or pre-chewed food. Here, we report a case of acquired secondary syphilis in a child due to consumption of pre-chewed-food and provide a review of the literature on the characteristics of acquired syphilis in preschool children. Case presentation A 3-year-old girl presented with erythematous plaques and scales on her head, neck, and thighs as well as flat red papules with a moist, well circumscribed surface covered with a grayish-white film. The grandmother who cared for the girl was in the habit of pre-chewing food before giving it to the girl. The child and grandmother tested positive for RPR. The girl, who was not sexually abused, was diagnosed with acquired secondary syphilis, resulting from the transmission of pre-chewed food from her grandmother. Conclusions Our case report and literature review reveal that close contact among family members can result in the transmission of syphilis. We recommend that pre-chewing food should be discouraged by caregivers when caring for their children to avoid disease transmission.

Charming but Villain

In the history of cinema, bad girl/boy characters are less common than other villain characters. However, these characters have a lot of influence on the audience. The Bad Seed movies, which are important book adaptations, are remarkable for the evil done by a charming, pretty little girl. The audience watched the story of this eight-year-old-girl for the first time with the adaptation made in 1956. The book was adapted as a television movie in the US both in 1985 and 2018. However, it was made in Turkey, too. This adaptation was shot in 1963 by director Nevzat Pesen. This black-and-white film is considered one of the best thriller-horror films of Turkish Cinema. In this study, the relationship of the little girl with evil will be examined in terms of differences in US and Turkish adaptations. Thus, the difference between the two cultures regarding the relationship between child and villainy will be evaluated from the point of cinema.

Light Catcher

Among his remarkable performance-based short films made in the garden of his family home, two films show the artist holding a mirror to both catch and reflect sunlight back to the camera and viewer. Such performances provide a fitting allegory for his relationship to the medium of photography. As a photographer Peter Finnemore is someone who catches and plays with light. Light is key to the pictures made in his home place in rural mid Wales, Gwendraeth House. The photographs relay the intimacy he has with his childhood home, which has been in his family for generations. Finnemore has been photographing his home for thirty years and his pictures are full of hints and suggestions, traces of those who live and lived there. With people’s passing, he is now its sole occupant and the house has become more and more a portrait of his own imagining, his dream space. Finnemore photographs feelingly and describes his home as “a dreaming centre to divine and survey the spaces between darkness and stars”. Working with black and white film and the chemical-based printing process his richly toned prints explore the opposition and gradations between non-light and light, negative and positive, with all their symbolic implications. Like film, the house and its rooms are seen as receptive and responsive spaces. In Dream Traces a partly decorated wall above a bed is animated both by the gestural traces of darker paint upon it and lighter rectangular areas where posters and pictures were once attached. The wall is not blank but a field of different energy forces, the slow photographic effect of the darkening of the wall around the absent pictures against the more immediate brushmarks of house paint at its edges. The wall is also suggestive of an awakening state, the sense of something not fully coming into consciousness. This is in contrast to the relative order and geometry introduced by the wooden bars of the bedstead and the clarity of the singing and piercing detail of the white dot at the centre of an eye, painted on glass. This Greek mati, used to ward off evil, becomes the focal point of this picture and cue to many objects and elements in his pictures that are felt to be imbued with energies and powers beyond their material form. [...]

Introduction

Think about the last time you went to the movies. Whatever film you saw, it probably seems like it has little connection to cinema’s silent era, which ran from the invention of film recording and projection technology around 1895 until the worldwide introduction of synchronized sound in the late 1920s and early 1930s. The film you saw undoubtedly had spoken dialogue and sound effects: it was not silent at all. It probably had a swelling score. It was almost certainly in color. What relation could that film possibly have to the bygone era of silent pictures—that seemingly primordial cinematic age encapsulated in the idea of a black-and-white film dimly flickering on a screen while a lonely musician idly plays piano in the corner?...

The Happy Failure

Among the most interesting and humorous artists that Marcel Duchamp has inspired, Christophe Viart proposes considering another of Marcel’s incursions into film. Marcel Broodthaers was a Belgian contemporary artist whose range of activities also covered poetry and (post-)cinema. A single film can have considerable theoretical power. This is the case with La pluie (Projet pour un texte) [The Rain (Project for a Text)], a 1969 two-minute 16mm black-and-white film, which presents Broodthaers attempting to write on paper in the rain. Is it a film? Is it cinema? This may be the material of a regular film, but not the spirit. We are definitely in the post-art era…

Effect of Zinc Oxide in mechanical, thermal, contact angle, color and antibacterial properties of PCL (Polycaprlctone) in dry food packaging

Background: Nowadays to use green materials can reduce environmental pollution and plastic waste. Polycaprlctone PCL is one of the natural biodegradable polymers mainly used in the production of bioplastics for packaging which is made of non-toxic compounds and is easily biodegradable. Objective: The aim was, therefore, to examine the role of zinc oxide nanopowder on the mechanical, thermal, contact angle color and antibacterial of the Polycaprlctone polymer and nanocomposites. Methods: Pure Polycaprlctone and Polycaprlctone -based bio nanocomposites joining various substance of ZnO nanoparticles from 0% to 5% (weight) were readied by means of arrangement throwing procedure. Results: The outcomes show that PCL and PCL/ZnO improve in Young's modulus, ductile however diminished in Elongation. Besides, the movies are thermally steady between 300-400°C, making them appropriate for nourishment bundling application, the shading test show that PCL have high transmitted about 96% and diminished to become white film for composites, the nanocomposites displayed expanded contact edge properties contrasted with perfect PCL and turned out to be progressively hydrophobic surface. They likewise demonstrated antibacterial movement against both Gram-positive and Gramnegative microscopic organisms, which was high restraint zone contrast and PCL. Conclusion: These biodegradable nanocomposites show extraordinary potential as an option in contrast to manufactured plastic bundling materials particularly for use in dry nourishment holders and dispensable applications.

The Preparation and Properties of the Brown Film by Micro-arc Oxidized on In-Situ TiB2/7050Al Matrix Composites

The brown or grayish-white color films were prepared by the micro-arc oxidation (MAO) method on in-situ TiB2/7050Al composites using these alkaline electrolytes with/without KMnO4 as an additive. The microstructure, elemental composition, chemical state and corrosion behavior have been investigated by the microstructure characterizations and electrochemistry measurements on the MAO films comparatively. The results indicated that a brown film was obtained via adding KMnO4 into the alkaline electrolyte. The coloration mechanism of the brown color can be ascribed to the existence of MnO inside the film. Furthermore, the initiation of corrosion to the Al composite was intensively hindered by the brown MAO film. Compared with the Al substrate and grayish-white film, the brown MAO film exhibited the elevated corrosion potential and reduced corrosion current. Therefore, the brown film has presented an optimized corrosion resistance for the composite.