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They can occur at any anatomical site but are believed to occur mainly in the large muscles of the limbs and the trunk, an exact anatomical distribution, however, has not been established. Intramuscular lipomas are rare in the hand and feet and very rare in the oral cavity 1,3.
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Mature adipocytes irregularly infiltrate and replace muscle fibers and bundles in the infiltrative type 1. There is no fatty infiltration of adjacent muscle typically observed in the well-defined or well-circumscribed type.
Usually shows either a fat-containing mass within a muscle, which is isointense to subcutaneous fat in all sequences sometimes with septae. Septae should not enhance avidly however or show nodules 2. Interlocked or intermingled muscular tissue and fibers can be observed in the infiltrative type 1. If a capsule is present and found outside the intramuscular lipoma, there should not be muscular fibers in the main mass 1.
Trichinellosis is caused by the ingestion of undercooked meat containing encysted larvae (except for T. pseudospiralis and T. papuae, which do not encyst) of Trichinella species . After exposure to gastric acid and pepsin, the larvae are released from the cysts and invade the small bowel mucosa where they develop into adult worms . Females are 2.2 mm in length; males 1.2 mm. The life span in the small bowel is about four weeks. After 1 week, the females release larvae that migrate to striated muscles where they encyst . Diagnosis is usually made based on clinical symptoms, and is confirmed by serology or identification of encysted or non-encysted larvae in biopsy or autopsy specimens.
Light infections may be asymptomatic. Intestinal invasion can be accompanied by gastrointestinal symptoms (diarrhea, abdominal pain, vomiting). Larval migration into muscle tissues (one week after infection) can cause periorbital and facial edema, conjunctivitis, fever, myalgias, splinter hemorrhages, rashes, and peripheral eosinophilia. Occasional life-threatening manifestations include myocarditis, central nervous system involvement, and pneumonitis. Larval encystment in the muscles causes myalgia and weakness, followed by subsidence of symptoms.
The suspicion of trichinellosis (trichinosis), based on history, clinical symptoms, and eosinophilia, can be confirmed by specific diagnostic tests, including antibody detection, muscle biopsy, and microscopy.
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That same year, Rainer wrote an essay that appeared in Gregory Battcock's Minimal Art, A Critical Anthology. She compared what she was attempting to achieve in Trio A with more traditional dance values and drew up a chart allying her concerns with those of 'so-called minimal' sculpture. (She knew what she was talking about; two years previously, she'd begun an affair with sculptor Robert Morris, and had been a regular at galleries ever since arriving in New York in 1956 with her then-husband, painter Al Held.) If, for example, current art that interested her minimized the 'role of the artist's hand' and introduced 'factory fabrication,' then she would substitute 'found movement' and 'energy equality' for the dynamic phrasing valued in more conventional choreography. The only permissible virtuosity lay in the intellectual process of the artist.
Much has been written about and by Rainer (books, doctoral dissertations, essays, published lectures and interviews, etc.). In her introduction to Feelings Are Facts, she states her wariness of autobiography as 'confession,' given that word's implication of guilt. The book is not just a frank and uncensorious account of her [End Page 68] life; in a mosaic of diary entries, letters, photos, and mature perspectives, themes in her work emerge in relation to her experiences.
Yet what is arresting about Eakins's pictures is not their verisimilitude, but their painterliness and physicality. Instead of the sleek, generalized finish of his teachers' efforts, Eakins gives us a range of surfaces--dry, brushy, smooth, delicate, smudged--celebrating the particularities of, aging skin, the ruching of an elegant dress, the straining muscles of an athlete, or the folds of a woolen coat. From his luminous early paintings of rowers on the Schuykill to the searching, no-holds-barred portraits of his last years, Eakins makes us equally aware of the twin realities of what has been seen and the paint itself. He is perhaps the American Courbet, dedicated, like his French avatar, to honestly rendering the appearances and evoking the tactile reality of everyday experience, without disguising the materiality of his means. The tension between a variety of... 041b061a72