The presence of Enterococcus faecalis in saliva as a risk factor for endodontic infection

Aim: The aim of the present study was to investigate and correlate the prevalence of Enterococcus faecalis in saliva and in root canals with different pulpal and periapical conditions. Methodology: Sixty-seven patients were divided into five groups based on pulpal and periapical tissue status: healthy vital teeth (HVT, n=7), healthy treated teeth without lesion (HTT, n=9), irreversible pulpitis (IP, n=13), necrosis (N, n=18), and post-treatment apical periodontitis (PTAP, n=20). Saliva, rubber dam, sterility control and pre-treatment root canal samples were collected and microbiologically processed by culture method. The phylogenetic relationship of E. faecalis isolates collected from root canals and saliva were investigated by whole genome sequencing. Fisher's exact test was used to correlate the presence of E. faecalis in root canals or saliva with clinical and/or radiographic findings. Linear/logistic regression analyses were performed to establish the relationship between the presence of E. faecalis in root canals, saliva, and the status of periapical tissues. Results: E. faecalis was found in 18 root canal and saliva samples. E. faecalis root canal isolates were recovered with the highest frequency from post-treatment apical periodontitis. The occurrence of E. faecalis in saliva was strongly associated with its detection in the root canals (P < 0.001). The pretreatment presence of E. faecalis in root canals was associated with significantly higher odds of having periapical lesions (OR=11.03; 95% CI, 1.27-95.70; p < 0.05). Saliva and root canal isolates from the same patient were highly correlated at the phylogenetic level (Jaccard index >0.95). Conclusion: This pilot study confirms the role of E. faecalis in developing peri-radicular lesions in secondary endodontic infections and suggests that saliva could be the main source of infection. Further studies are needed to investigate the exact origin of this bacteria and its true role in the pathogenesis of secondary/persistent endodontic infections

Genome sequences of 10 SARS-CoV-2 viral strains obtained by nanopore sequencing of nasopharyngeal swabs in Malta

The genome sequences of 10 severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) strains from Sliema, Malta, were obtained by Nanopore sequencing using the amplicon sequencing approach developed by the Artic Network. The assembled genomes were analyzed with Pangolin software and assigned to the B.1 lineage, which is widely circulating in Europe.peer-reviewe

Comparing Notes: Recording and Criticism

This chapter charts the ways in which recording has changed the nature of music criticism. It both provides an overview of the history of recording and music criticism, from the advent of Edison’s Phonograph to the present day, and examines the issues arising from this new technology and the consequent transformation of critical thought and practice

Wider Still and Wider: British Music Criticism since the Second World War

This chapter provides the first historical examination of music criticism in Britain since the Second World War. In the process, it also challenges the simplistic prevailing view of this being a period of decline from a golden age in music criticism

Whole-Genome Sequence of SARS-CoV-2 Isolate Siena-1/2020

The complete genome sequence of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) isolate Siena-1/2020 was obtained by Nanopore sequencing, combining the direct RNA sequencing and amplicon sequencing approaches. The isolate belongs to the B1.1 lineage, which is prevalent in Europe, and contains a mutation in the spike protein coding sequence leading to the D614G amino acid change

The Gender Paradox: Criticism of Women and Women as Critics

In May 2014 a storm erupted in the British classical music world when five established male critics fat-shamed Irish mezzo-soprano Tara Erraught, who was performing Octavian in Der Rosenkavalier at Covent Garden. Instead of focusing upon Erraught’s technique or interpretation, the critics ridiculed her physique. Writing in the Financial Times Andrew Clark referred to Erraught as ‘a chubby bundle of puppy-fat’; Michael Church in The Independent and Rupert Christiansen in The Telegraph both described her as ‘dumpy’; Andrew Clements in The Guardian called her ‘stocky’; and Richard Morrison in The Times characterised her as ‘unbelievable, unsightly and unappealing’. Although these sexist comments drew widespread condemnation, they are symptomatic of a centuries-old tendency for empowered male critics to fail to produce objective assessments of female musicians

Critiquing the Canon: The Role of Criticism in Canon Formation

Music critics wield great power. Their writing influences public opinion and contributes to how audiences receive works. They focus attention upon specific works and musicians, thus justifying these as most worthy of public recognition and debate. They help works to achieve repeat performances, and thereby to establish their places within the performing canon. In the age of recorded sound, they influence sales and affect charts. Although some claim that with the recent rise of ubiquitous digital critical commentary (much of it amateur) professional critics have lost their traditional authority, online criticism continues to exercise considerable sway. In a very real way, critics have been – and continue to be – the gatekeepers of the canon. As Roy Shuker has observed, ‘popular music critics … function as significant gatekeepers and as arbiters of taste’