Time interval from initial surgery for torn discoid lateral meniscus to the contralateral knee surgery

To estimate the long-term possibility of needing surgery on contralateral knees that were asymptomatic at the time of initial discoid lateral menisci (DLM) surgeries, a minimum of 10 years of follow-up was performed after unilateral surgery for a torn DLM. Eligible patients had received arthroscopic meniscectomy between 1986 and 2001 for unilateral torn DLM. Patients with symptomatic contralateral knees at the time of initial surgery were excluded. Among these patients, only those aged no more than 20 years at the time of surgery were included in the study. Ultimately, 30 contralateral knees were followed for an average of 16.6 years after the initial knee surgery. Types of menisci were examined from operative records employing Watanabe's classification. When surgical treatment was necessary on contralateral knee, time interval from initial surgery to the second surgery was recorded. Patients were divided into two groups: those who needed surgical treatment on their contralateral knees (surgery group: S group) and those who did not need surgical treatment on their contralateral knees (non-surgery group: N group). Age at the time of initial surgery, sex, and type of menisci were examined and compared between the two groups. Seven of the 30 knees received arthroscopic surgery during the follow-up period (at an average of 1.6 years after the initial surgery). The rest of the 77% of contralateral knees survived a follow-up period of at least 10 years without requiring surgery. A higher percentage of female patients needed contralateral knee surgeries (30%, 6/20 patients) compared with male patients (10%, 1/10 patients). The possibility for needing surgery on the contralateral knee was highest in the first 2 years and decreased drastically thereafter

Mediating the real: Treme’s activated aesthetic

This article explores how Treme (HBO 2010–2013) deploys reflexive aesthetic strategies to produce a critique of governmental and municipal corruption and negligence following Hurricane Katrina. Set and filmed in New Orleans, Treme negotiates additional complex layers given that many events referenced are real. The series reworks normative representations of New Orleans typified by an overdetermined authenticity in a reflexive interrogation of recent experience and historical memory. I argue Treme develops an ‘activated aesthetic’ through two textual strategies: opening credit sequences and ‘televisual moments’, mobilising these aesthetic devices to develop a complex, explicitly politicised representation of post-Katrina New Orleans