Molecular characterisation of the first New Delhi metallo-β-lactamase 1-producing Acinetobacter baumannii from Tanzania

Journal of global antimicrobial resistance, 2016

2020

Background Carbapenem-resistant Acinetobacter baumannii is considered a top priority pathogen by the World Health Organization for combatting increasing antibiotic resistance and development of new drugs. Since it was originally reported in Klebsiella pneumoniae in 2009, the quick spread of the blaNDM−1 gene encoding a New-Delhi metallo-beta-lactamase-1 (NDM-1) is increasingly recognized as a serious threat. This gene is usually carried by large plasmids and has already been documented in diverse bacterial species, including A. baumannii. Here, we report the first detection of a NDM-1-producing A. baumannii strain isolated in Benin. Case presentation: A 31-year-old woman was admitted to a surgical unit with a diagnosis of post-cesarean hematoma. An extensively-drug resistant A. baumannii strain solely susceptible to amikacin, colistin and ciprofloxacin, and resistant to several other antibiotics including ceftazidime, imipenem, meropenem, gentamicin, tobramycin, ceftazidime/avibacta...

2018

Current Microbiology, 2019

Microorganisms

International Journal of Infectious Diseases, 2015

Antimicrobial Agents and Chemotherapy, 2007

Orbis Ferrorum - Gesellschaft zur interdisziplinären Erforschung der Eisenzeit Vienna - THEETRUSCANCONNECTION, 2024

Eastern Alpine Situla art, which flourished between 650 and 450 BC, is a little-known, rich figurative tradition at the interface between the rich narrative art of Etruria and the iconographic desert of Central Europe. A remarkable and sophisticated appropriation of Mediterranean imagery by Situla artists concerns hybrid feline creatures (winged lions and sphinxes) that devour humans and animals. These monsters live mainly in a mythological Otherworld, where they are occasionally threatened by heroes. Although they are obviously connoted as hated demons, they also play a crucial role in the iconography of rebirth and redemption. The adoption of Mediterranean monsters and mythology by craftsmen and their patrons in Alpine and even transalpine communities shows that cultural contacts between the Mediterranean and Central Europe in the early Iron Age were about much more than the acquisition of prestige goods by elites. Die ostalpine Situla-Kunst, die zwischen 650 und 450 v. Chr. aufblühte, ist eine wenig bekannte, reiche figurative Tradition an der Schnittstelle zwischen der reichen erzählerischen Kunst Etruriens und der ikonografischen Wüste Mitteleuropas. Eine bemerkenswerte und raffinierte Aneignung mediterraner Bilder durch die Künstler der Situla-Kunst betrifft hybride Katzenwesen (geflügelte Löwen und Sphinxen), die Menschen und Tiere verschlingen. Diese Ungeheuer leben hauptsächlich in einer mythologischen Anderswelt, wo sie gelegentlich von Helden bedroht werden. Obwohl sie offensichtlich als verhasste Dämonen konnotiert sind, spielen sie auch eine entscheidende Rolle in der Ikonographie der Wiedergeburt und Erlösung. Die Übernahme mediterraner Monster und Mythologie durch Handwerker und ihre Auftraggeber in alpinen und sogar transalpinen Gemeinschaften zeigt, dass es bei den kulturellen Kontakten zwischen dem Mittelmeerraum und Mitteleuropa in der frühen Eisenzeit um weit mehr ging als um den Erwerb von Prestigegütern durch Eliten.