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a b s t r a c tThis work aims to investigate the contribution of a selected non-Saccharomyces yeast species, Hanseniaspora guilliermondii, to higher alcohols, esters, fatty acids and heavy sulphur compounds composition of red wine. Red grape must vinifications of 100 l were performed and an inoculated fermentation with H. guilliermondii was compared to a spontaneous fermentation. The presence of apiculate yeasts was observed in both fermentations; however, Hanseniaspora uvarum was the only apiculate yeast isolated from the spontaneous fermentation. Apiculate yeasts dominated the fermentation until an ethanol concentration of 6% (v/v) was attained and remained in considerable high levels for an ethanol concentration of 12.5% (v/v). The grape must inoculated with H. guilliermondii led to the production of wine with higher concentrations of 1-propanol, 2-phenylethyl acetate and 3-(methylthio)propionic acid, and lower amounts of ethyl hexanoate, pentanoic acid, free fatty acids, 2-methyltetrahydrothiophen-3-one and acetic acid-3-(methylthio)propyl ester, than wine resulting from the spontaneous fermentation. The present study shows that the use of specific apiculate yeasts in grape must fermentations may lead to the production of wines with different chemical profiles, emphasising the importance of Hanseniaspora yeasts as mixed starter cultures with Saccharomyces cerevisiae, in winemaking.

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Infected root canals contained a high bacterial load, and the chemomechanical root canal preparation reduced bacterial equivalents by 99.1% and anaerobic counts by 98.5%. Intracanal dressings were not efficient at reducing bacterial load, but the 14-day intracanal dressing with Ca(OH)2 performed significantly better than CHX, particularly in cases with apical periodontitis.

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La comparación entre la nueva edición ampliada de 2013 de los Diarios de Alejandra Pizarnik, la primera edición de 2003 y los originales depositados en la Biblioteca de Princeton revela, por un lado, las manipulaciones a que la editora Ana Becciú sometió el material en la primera edición y las exclusiones realizadas en la segunda; por el otro, la autocensura aplicada por la propia Pizarnik a las reescrituras de los fragmentos de sus diarios de París que publicó en vida. Como consecuencia se perfilan diferentes figuras de autor y su corpus literario confirma su condición de objeto en constante mutación. El presente artículo analiza en detalle las diversas supresiones y manipulaciones por parte de la autora y su editora y las vincula con la transformación de la imagen de autor que se produce.