Pleomorphic adenoma of the nasal septum : a case report

Polypoid nasal lesions are commonly encountered in clinical practice and all should be examined histologically. The authors report a case of pleomorphic adenoma arising in the nasal septum in salivary-type tissue. The interest of this case is both in the relative rarity of the condition, and also in its being the first such report in local practice.peer-reviewe

Gelatin Properties of Goat Skin Produced by Calcium Hydroxide as Curing Material

Application of strong bases as curing materials has been widely applied in commercial gelatin industries, but the application of weak bases has not been much done. Application of strong bases as a treatment was not economical and assumed to affect human health. Studies were conducted on the properties of goat skin gelatin manufactured using weak base types of Ca(OH)2 and then compared with properties of commercial gelatin. Skins from Bligon goats of 1.5 to 2.5 years old was used as the raw materials and Ca(OH)2 100 g/l as curing materials. The 2x3 factorial completely randomized design (CRD) with three replications was used as a design study. Two curing times (2 and 4 days) and three concentrations (3, 6, 9% v/v) were used as treatments, and commercial gelatin (pure (P) by Merck, food grade (Fg) and pharmacy standards (Ps)) were used as control. Gelatin produced from goat skins using Ca(OH)2 had properties similar to that of commercial gelatin. The heavy metals (Pb, Cu and Zn) contained in goat skin gelatin still meet the INS standards. The optimum production of gelatin has been generated through the application of 4-day curing time at a concentration of 9% (v/v)

The Swahili novelist at the crossroad: the dilemma of identity and fecundity

\"Are there any national literatures in black Africa yet? The simple answer is no. [...] If one examines the development of the African language literature that do exists, one is struck by certain recurring tendencies. Many of the books produced, particularly the early works, are of a predominantly moralistic nature. Sometimes they are retelling of folk stories or Bible stories, sometimes imitations of European religious literature, sometimes both.\\\" (Lindfors 1997: 121; 123) Certain anomalies are obvious in the above extract. Swahili written literature with its long-standing tradition, dating far back to the 17th century, has relativly gathered its own aesthetic criteria, values and sensibility, hence \\\''own\\\'' integrity and world view. I dare say that Lindfors will be suprised to learn today, how fast the Swahili novel has developed since when he had left it when he read Andrzejewski et al (1985) and Gérard (1981), who (by the way), themselves did not then see the their works as presenting a complete picture of African literatures in African languages. This essay aims at showing the predicament of the Swahili novelist at the crossroads and how, in a contemporary situation, s/he works out his or her strategies towards resolving the impasses

Redefining taarab in relation to local and global influences

To refer to the origin of taarab as a direct importation of Egyptian music by the Arab upper class (Topp 1994:153) is a plausibility without solid evidence. To define it as a style of music played for entertainment at weddings and other festive occasions all along the Swahili Coast (153) is to exclude other styles of music, indeed played for entertainment at weddings and other festive occasions all along the Swahili Coast. To say that taarab contains all the features of a typical `Indian Ocean music`, combining influences from Egypt, the Arabian peninsula, India and the West with local musical practices (153) is apparently true but does not adequately capture the ambiguities and complexities of its protean nature. Refening to taarab as the Swahili popular `salon` music whose song may be recorded or, as often is the case, orally transmitted (King`ei 1992:29) is misleading, for taarab is not always `salon` music and the method and process of creating and transmitting a song in taarab is not the same as that of other forms of African music. To state that taarab has transcended its local Swahili boundaries to be consumed in other communities including other cities in East and Central Africa (Ntarangwi 1998: 150) is a valid statement from a point of view of media, change and spread, but still leaves out a lot to be said. Taarab, like so many complex living things, refuses to be thrust into neat bags or squeezed into terse all-embracing definitions. It is an ongoing process whose form(s) are amorphous, assuming different structures, roles, functions and epithets triggered by a number of factors. That notwithstanding - whatever forms, role and function taarab exhibits at different stages, its making consists of five major components or processes: the composition of the lyric, the composition of musical patterns, the extemporized performance of its song, instrumentation and audience

Time-Fractional KdV Equation for the plasma in auroral zone using Variational Methods

The reductive perturbation method has been employed to derive the Korteweg-de Vries (KdV) equation for small but finite amplitude electrostatic waves. The Lagrangian of the time fractional KdV equation is used in similar form to the Lagrangian of the regular KdV equation. The variation of the functional of this Lagrangian leads to the Euler-Lagrange equation that leads to the time fractional KdV equation. The Riemann-Liouvulle definition of the fractional derivative is used to describe the time fractional operator in the fractional KdV equation. The variational-iteration method given by He is used to solve the derived time fractional KdV equation. The calculations of the solution with initial condition A0*sech(cx)^2 are carried out. Numerical studies have been made using plasma parameters close to those values corresponding to the dayside auroral zone. The effects of the time fractional parameter on the electrostatic solitary structures are presented.Comment: 1 tex file + 5 eps figure