Objective: To compare and contrast attitudes and behaviours of family doctors and patients with regard to genital herpes and its management. Methods: Family doctors and infected patients were surveyed online to explore disease importance/seriousness, emotional impact, transmission and treatment. The study received ethics approval. Results: 400 patients and 200 doctors participated. Doctors estimated the emotional impact of genital herpes to be higher than did patients. Patient distress increased with recurrences and more recent diagnosis. Doctors and patients underestimated the risk of transmission during periods of asymptomatic viral shedding, 45% and 51%, respectively. Doctors reported that 74% of their patients were taking medication, whereas only 29% of patients reported use of anti-virals. Doctors reported discussing suppressive therapy with 59% of patients, whereas only 25% of patients recalled such a discussion. Only 40% of patients were aware that daily anti-viral therapy was available to reduce the risk of transmission. The most compelling reason for high interest in suppressive therapy was to reduce the frequency or severity of outbreaks (62%). Conclusions: Although doctor and patient attitudes and behaviours coincide in a number of areas, there are many areas of misalignment. This presents opportunities for education and improvement in the management of genital herpes.Genital herpes, a recurrent life-long infection caused by herpes simplex virus type 1 (HSV-1) and type 2 (HSV-2), is one of the most prevalent sexually transmitted infections in industrialised countries.
Why Swiss Graphic Design Again, Now?In reviewing the two publications-"Josef Müller-Brockmann" by Kerry William Purcell and "Swiss Graphic Design: The Origins and Growth of an International Style, 1920-1965" by Richard Hollis-Michael J. Golec noted that "when it comes to the graphic design of Josef Müller-Brockmann, we had to contend with what John Walker has referred to as 'typological' approaches-or studies and categorizations of designed objects according to type." This approach applies not only to the work of Müller-Brockmann but also to the entire previous investigation of graphic design from Switzerland. Or, to put it more sharply, the construct of Swiss graphic design represents an outdated historiography based on a "sorting out of objects according to 'authorship, chronology, national and individual styles, and authenticity'" more than any other label in design history. 1 Golec goes on to ask the question, "what then constitutes an informed history of the graphic design of Müller-Brockman?" This special edition is an attempt to answer this question when related to Swiss graphic design.In graphic design history, the terms "Swiss graphic design," "Swiss typography," or "Swiss style" regularly denote an international style that can be applied to a variety of media, such as posters, books, corporate identities, and signage systems. This style emerged in Switzerland during the 1950s, was used by graphic designers in Switzerland and many other Western countries, and gained an excellent reputation worldwide. However, the term was used not only to define a certain, specific style, but also in many variations to describe graphic design from Switzerland in general, or design produced by Swiss graphic designers. This definitional blurring has in fact contributed to the success of the term. The nomination of "Swiss graphic design" as one of eight Swiss Candidatures proposed to UNESCO as an Intangible Cultural Heritage in 2014 confirms the relevance of "traditional craftsmanship." 2 From this perspective, it becomes clear that "Swiss graphic design and typography" has not yet come to an
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