1,721,129 research outputs found

    Ventricular Septal Defects

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    The defects that may be suitable for percutaneous closure are located within the muscular septum (muscular ventricular septal defects, MVSD) or in the perimembranous septum (perimembranous ventricular septal defects, PVSD) with or without aneurysm, and they can be native of residual post surgery. Surgical repair is currently the only option for doubly committed or supracristal defects, for perimembranous defects associated with prolapse of aortic valve and aortic regurgitation and for any defect associated with malalignment of the muscular outlet septum or straddling and overriding atrioventricular valves. Large defects give signs and symptoms of cardiac failure in early infancy, and they have to be treated surgically during the first months of life

    Over-the-wire-technique device implantation

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    Introduction Transcatheter closure of cardiac defects is a mainstay of treatment in congenital and structural heart disease. Occasionally, the devices used are useful in nonstandard or difficult positions but device embolization and malposition can be complicating factors necessitating percutaneous retrieval or emergency surgery. We describe a new "over-the-wire" technique that allows guided safe deployment and easy retrievability if required. Methods We describe 5 cases in which Amplatzer devices were delivered over a wire in challenging anatomy in high-risk patients. These cases included baffle leak in complex congenital heart disease, paravalvular leak, a large patent ductus arteriosus, and complex ventricular septal defects. In each case, the device was punctured close to the release mechanism and a guidewire fed through it, the device and guidewire then being loaded into the appropriate delivery system. The procedure is described in each case, illustrating the use of the technique. Conclusion We describe a novel over-the-wire technique that is useful in deployment of Amplatzer devices in difficult and challenging anatomy, allowing careful controlled delivery and easy retrieval. This will help minimize procedural patient risk in complex cases. © 2012 Wiley Periodicals, Inc

    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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