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    Preoperative variables predicting pelvic lymphnodes involvement. Is lymph nodes dissection still a must before radical prostatectomy?

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    32 patients with confined (localized) prostate cancer histologically confirmed have been included in a retrospective study, 16 patients underwent laparoscopic staging lymphadenectomy, meanwhile another group of 16 patients had a lymphadenectomy as a part of radical sovrapubic prostatectomy. 25% of laparoscopic lymphadenectomy patients were N+ and subsequently have been treated with hormonotherapy. The whole cohort was analysed without division based on type of lymphadenectomy procedure. The patients were stratified as: a) Clinical stage by DR, and TRUS and biopsy; b) Grade: (1) low grade Ml, (2) medium grade III-IV (3) high grade; c) PSA score: (1) PSA10 20 ng/ml. Taking the pathologic stage as dependent variable factor and all other data as independent variable factors a statistic analysis was carried out aiming to predict the progression at the pathologic stage as dependent factor. Clinical stage: 77% of stage T l c- T2a-b patients had localised disease but only 24% of stages T2c and T3a were prostatic confined diseases. 24% of T2c and 21 % of T3a were N+. PSA: 64% with PSA below 10 ng/ml had intracapsular neoplasm and 40% with PSA higher than 20 mg/ml had been N+. Primary Gleason grade: 55.7% of low grade neoplasm were intracapsular, 74.4% of high grade were extracapsular with 45% of N+. A discriminant analysis was first performed on three group: 1) intracapsular, 2) extracapsular (locally advanced), 3) with lymphnodes metastasis. Lymphnode invasion was predictable in 63% of cases. The discriminant analysis correctly divide the subject with low stage from the restant with locally advanced disease and from those with lymphnode metastases but it does not allow to separate locally advanced disease bearers from patients with lymphnodes invasion. This is probably due to the fact that often locally advanced tumour and lymphnode invasion cosiest. The logistic regression identifies the association of Psa (p=0.000), clinical stage (p=0.001) and primary Gleason grade as valuable factors in predicting pathological stage (75%). Only the patients with organ confined prostate cancer can benefit from radical prostatectomy. The best problem is not to identify node positive disease, often associated with extracapsular disease but to select prior the surgery the patients with a potentially extracapsular extension of the cancer

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed

    Variations on the Author

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    “Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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