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Supported by institutional funding at the University of Texas Health Science Center at Tyber (UTHCT)., Rationale: The clinical features and outcome of macrolide-resistant Mycobacterium avium complex (MAC) lung disease are not known. Objectives: Characterize patients, treatment, and isolates in macrolide-resistant MAC lung disease. Methods: Retrospective chart review, susceptibility testing, molecular fingerprinting, and DNA sequence analyses of resistant MAC isolates. Measurements and main results: We identified 51 patients over a 15-yr period with clarithromycin-resistant MAC (minimum inhibitory concentration (MIC)>or=32 microg/ml) lung disease at a single referral center. Twenty-four (47%) patients had nodular disease with bronchiectasis and 27 (53%) had upper lobe cavitary disease. Most patients (77%) had M. intracellulare. Sequencing of the 23S r-RNA gene showed 49 of 51 isolates (96%) with the expected mutation in adenine 2058 or 2059. Risk factors for resistance included macrolide monotherapy or combination with a quinolone only (39/51 or 76%). Macrolide resistance developed in 12 of 303 (4.0%) patients started on the American Thoracic Society-recommended two companion drugs, with no risk difference in clarithromycin versus azithromycin and daily versus intermittent therapy. Sputum conversion with macrolide-resistant MAC occurred in 11 of 14 (79%) patients who received more than 6 mo of injectable aminoglycoside therapy and lung resection, compared with 2 of 37 (5%) who did not. The 1-yr mortality in patients who remained culture positive was 34% (13/38) compared with 0% (0/13) of patients who became culture negative (converted). Conclusions: Macrolide resistance rarely occurs in patients also receiving ethambutol and a rifamycin. Macrolide-resistant MAC lung disease requires aggressive drug and surgical therapy for cure., Depto. de Sanidad Animal, Fac. de Veterinaria, TRUE, pub

The aim of this dissertation was to examine changing discursive representations of ‘New Pop’, a British popular music phenomenon of the 1980s, and in doing so it explored the methodological issues related to the construction and interpretation of cultural histories. The study drew on literature which highlighted several issues as key in the representation of cultural phenomena; namely, the act of narrativisation (White 1987; Zerubavel 2003), the use of interpretative repertoires (Edley 2008), and the influence of collective memory (Halbwachs 1995). In order to evaluate the proposed shift in discursive constructions of ‘New Pop’, a comparative approach was adopted, with a selection of media accounts gathered both from the time of the phenomenon in question and from the subsequent period. In applying Critical Discourse Analysis to this material (Fairclough 1995), the study was able not only to identify the discursive strategies at work in representations of ‘New Pop’, but also to investigate the politics of the disparity which was found between contemporary and retrospective accounts. Emerging from the analysis were a number of findings concerning the role of discursive power in the privileging of particular accounts of ‘New Pop’, the problematic status of truth-claims in the representation of cultural phenomena, and the epistemological implications of the tendency to retrospectively codify cultural history.

The aim of this dissertation was to examine changing discursive representations of ‘New Pop’, a British popular music phenomenon of the 1980s, and in doing so it explored the methodological issues related to the construction and interpretation of cultural histories. The study drew on literature which highlighted several issues as key in the representation of cultural phenomena; namely, the act of narrativisation (White 1987; Zerubavel 2003), the use of interpretative repertoires (Edley 2008), and the influence of collective memory (Halbwachs 1995). In order to evaluate the proposed shift in discursive constructions of ‘New Pop’, a comparative approach was adopted, with a selection of media accounts gathered both from the time of the phenomenon in question and from the subsequent period. In applying Critical Discourse Analysis to this material (Fairclough 1995), the study was able not only to identify the discursive strategies at work in representations of ‘New Pop’, but also to investigate the politics of the disparity which was found between contemporary and retrospective accounts. Emerging from the analysis were a number of findings concerning the role of discursive power in the privileging of particular accounts of ‘New Pop’, the problematic status of truth-claims in the representation of cultural phenomena, and the epistemological implications of the tendency to retrospectively codify cultural history.