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Diltiazemin internal torasik arter kan akımı üzerine etkisi
No full textBir kalsiyum antagonist! olan diltiazemin koroner arter cerrahisinde internal torasik arter (İTA) akımı üzerindeki etkisini incelemek üzere 60 olgu üzerinde yapılan çalışmada, 30 olguya peroperatif 0.1 mg/kg/saat - 0.3 mg /kg / saat arasında değişen dozlarda diltiazem perfüzyonu başlandı ve 24 saat devam edildi (Grup 1). Diğer 30 olguya (Grup 2) diltiazem verilmedi. Yapılan ölçümlerde İTA kan akımı Grup Vde 110 ± 5 ml/dk, Grup 2'de 70 ± 7 mi/ dk bulundu (p < 0.05). Grup 2'deki olgulara İTA içine papaverin enjekte edildikten sonra yapılan ölçümlerde İTA kan akımı 120 ± 5 mi olarak ölçüldü. Elde edilen gözlem, peroperatif başlanan diltiazem perfüzyonunun İTA kan akımını önemli ölçüde artırdığı şeklindedir.This prospective, randomized study was performed on 60 patients to evaluate the effects of diltiazem on internal thoracic artery (ITA flow. Thirty patients. (Group 1) received a minimum dose of 0.1 mg / kg /hr diltiazem perfusion perioperatively which was continued for 24 hours in the intensive care unit. The other 30 patients (Group 2) did not recieve diltiazem. The ITA flow, measured just before the start of cardiopulmonary bypass (C.P.B.) was 110 ± 5 ml /min in Group 1 and 70± 7 ml/min in Group 2 (p < 0,05). Diluted papaverin solution was injected in İTA s in Group 2 and in the repeated measurement, the ITA flow was measured as 120 ± 5 ml/min. These initial results suggest that perioperative diltiazem perfusion increases ITA flow significantly and prevents spasm in the early operative period
Turco-Westerns: Aesthetic and Thematic Politics of a Transnational and Translocal Genre
No full textWhat can one interpret about life in the Turkish frontier, ethnic identity, and Turkey-U.S. relationships from Westerns made in Turkey? How did the cinematography and iconography of the Western genre translate into Turkey? How does a national cinema industry adapt an iconic film genre, and what transnational flows enabled the syncretization of the Western genre into the Turkish silver screen? Examining the history of cinema in Turkey with a focus on films produced between 1959 and 1975, when there was a noticeable Western genre film production in Turkey, I explore the Turkish Western subgenre in this period and catalog them under a new parameter: Turco-Westerns. With my coining of Turco-Westerns, I imply that these Westerns are not Turkish but rather Turkey-ish: carrying all the ethics, politics, and aesthetics that come from being related to Turkey as a land carrying various types of subjectivities. My thesis explores these questions, alongside the Turco-Western canon, by exploring the aesthetic and thematic politics of Düşman Yolları Kesti (Enemy Has Cut Off All the Roads; dir. Osman F. Seden, 1959), Çifte Tabancalı Damat (Dual-wielding Groom; dir. Nuri Ergün, 1967), and Aç Kurtlar (The Hungry Wolves; dir. Yılmaz Güney, 1969) as case studies. Through this study, I negotiate the political and aesthetic motives of the Turco-Westerns that translocalized the Western genre to Turkey. By approaching Turco-Westerns through the critical perspective of translocalization, I am highlighting and negotiating how Turkish filmmakers integrated the elements of the Wild West into Asia Minor (also known as
Anatolia) which formed the setting of their movies or rendered the filmic conventions of the Western and myths of the Wild West with characters and cultural references about Turkey