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Transmission of SARS-CoV-2 among children and staff in German daycare centres
- Julika Loss, Juliane Wurm, Gianni Varnaccia, Anja Schienkiewitz, Helena Iwanowski, Anne-Kathrin Mareike Loer, Jennifer Allen, Barbara Wess, Angelika Schaffrath Rosario, Stefan Damerow, Tim Kuttig, Hanna Perlitz, Anselm Hornbacher, Bianca Finkel, Carolin Krause, Jan Wormsbächer, Anna Sandoni, Ulrike Kubisch, Kiara Eggers, Andreas Nitsche, Aleksandar Radonic, Kathrin Trappe, Oliver Drechsel, Kathleen Klaper, Andrea Franke, Antje Hüther, Udo Buchholz, Walter Haas, Lothar H. Wieler, Susanne Jordan
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- Journal:
- Epidemiology & Infection / Volume 150 / 2022
- Published online by Cambridge University Press:
- 08 July 2022, e141
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- Article
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- Open access
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In daycare centres, the close contact of children with other children and employees favours the transmission of infections. The majority of children <6 years attend daycare programmes in Germany, but the role of daycare centres in the SARS-CoV-2 pandemic is unclear. We investigated the transmission risk in daycare centres and the spread of SARS-CoV-2 to associated households. 30 daycare groups with at least one recent laboratory-confirmed SARS-CoV-2 case were enrolled in the study (10/2020–06/2021). Close contact persons within daycare and households were examined over a 12-day period (repeated SARS-CoV-2 PCR tests, genetic sequencing of viruses, symptom diary). Households were interviewed to gain comprehensive information on each outbreak. We determined primary cases for all daycare groups. The number of secondary cases varied considerably between daycare groups. The pooled secondary attack rate (SAR) across all 30 daycare centres was 9.6%. The SAR tended to be higher when the Alpha variant was detected (15.9% vs. 5.1% with evidence of wild type). The household SAR was 53.3%. Exposed daycare children were less likely to get infected with SARS-CoV-2 than employees (7.7% vs. 15.5%). Containment measures in daycare programmes are critical to reduce SARS-CoV-2 transmission, especially to avoid spread to associated households.
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- Edited by Vassiliki Kolocotroni, University of Glasgow, Olga Taxidou, University of Edinburgh
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- Book:
- The Edinburgh Dictionary of Modernism
- Published by:
- Edinburgh University Press
- Published online:
- 18 November 2022
- Print publication:
- 31 July 2018, pp 387-391
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Summary
VERFREMDUNGSEFFEKT
The Verfremdungseffekt is the basis of the performance technique of Bertolt Brecht's EPIC THEATRE, and is employed to distance the actor from his or her character in order to shift the spectator's attention away from EMPATHY and identification and towards an engagement with the characters’ social and political circumstances. During Brecht's visit to Moscow in 1936, the Soviet playwright Sergei Tretyakov introduced Brecht to the Russian FORMALIST Viktor Shklovsky's concept ostranenie, or ‘ESTRANGEMENT’, of which Brecht's term is a part translation (dungs is Old German for ‘strange’). The word has been variously translated into English as ‘defamiliarisation effect’, ‘distanciation’ and ‘ALIENATION EFFECT’. Brecht first used the term in his essay ‘Alienation Effects in Chinese Acting’ (1936), where he describes the effect of witnessing the formal distance between the actor and her emotions in Mei Lan-Fang's Beijing Opera Company. In Brecht's method, the actor shows, narrates or quotes his character; the actor would demonstrate the role, often directly addressing the audience, observing his or her character as though in the third person. Stage design, lighting and music also contribute to the Verfremdungseffekt by exposing the fictive, constructed nature of the play. The overall effect would break the hypnotic spell of identification in the minds of the audience, forcing them rationally to consider how the character's plight is fundamentally an aspect not of a self-contained fictive world but of real social, political and economic institutions, and to instill the desire to imagine alternative structures. The influence of the Verfremdungseffekt on both theatre and CINEMA is an aspect of the wide-ranging legacy of epic theatre.
READING
Brecht, Bertolt (1964) Brecht on Theatre: The Development of an Aesthetic, ed. and trans. John Willett. London: Methuen.
Robinson, Douglas (2008) Estrangement and the Somatics of Literature: Tolstoy, Shklovsky, Brecht. Baltimore: Johns Hopkins University Press.
VORTICISM
Vorticism was a pan-artistic AVANT-GARDE movement that flourished briefly in London during 1913–15, with an attempted revival in 1919. The main organising force behind the movement was the Canadian-born artist and writer Wyndham Lewis, supported by the considerable energies of the American poet and promoter Ezra Pound, who abandoned IMAGISM for the new project.