47 research outputs found
ASSESSING POSTOPERATIVE DISCOMFORT AFTER THIRD MOLAR SURGERY: A PROSPECTIVE STUDY
No full textPurpose The purpose of this study was to identify the risk factors for severe discomfort after mandibular third molar surgery and to assess the validity of the Postoperative Symptom Severity (PoSSe) scale.
Patients and Methods In a 2-year prospective study, a total of 255 unilateral impacted mandibular third molar teeth were surgically removed under local anesthesia by 3 surgeons. Standardized surgical and analgesic protocols were followed. At the review appointment, 1 week after surgery, all patients returned a completed follow-up questionnaire (PoSSe scale) and were evaluated clinically for postoperative pain (number of painkillers taken) and trismus (differences in mouth opening). Sixteen predictive variables were evaluated using stepwise logistic regression analysis to identify the risk factors associated with severe discomfort.
Results Severe postoperative discomfort was predicted by these independent variables: gender, tobacco use, ramus relationship/space available, and antibiotic prophylaxis. Oral contraceptive use and operation time were not identified as risk factors. The patients’ perceptions of the severity of symptoms (PoSSe scale score) was strongly correlated with clinical assessment of trismus (r = 0.54) and pain (r = 0.42).
Conclusion The PoSSe scale resulted in a valid and responsive measure of the severity of symptoms after surgical extraction of lower third molars and reflected the clinical severity of the postoperative discomfort. From a patient’s perspective, operative factors had little bearing on the quality of life after removal of mandibular third molars
Effect of Submucosal Injection of Dexamethasone on Postoperative Discomfort After Third Molar Surgery: A Prospective Study
No full textPurpose: The purpose of this study was to evaluate the effect of submucosal administration of dexamethasone sodium phosphate on discomfort after mandibular third molar surgery. Patients and Methods: Sixty-one consecutive patients requiring surgical removal of a single mandibular impacted third molar under local anesthesia were randomly placed into 3 groups. After the onset of local anesthesia, the experimental groups received dexamethasone at 2 different doses (4 or 8 mg) as submucosal injection, and the control group received no drug. Standardized surgical and analgesic protocols were followed. Maximum interincisal distance and facial contours were measured at baseline and at postsurgery days 2 and 7. Pain was objectively measured by counting the number of analgesic tablets required. The patients' perception of the severity of symptoms was assessed with a follow-up questionnaire (PoSSe scale). Results: On the second postoperative day, facial edema showed a statistically significant reduction in both dexamethasone 4-mg and dexamethasone 8-mg groups compared with the control group, but no statistically significant differences were observed between the 2 dosage regimens of dexamethasone. By contrast, there was no statistically significant difference between all groups when postoperative swelling was evaluated at day 7 (P > .50). The treatment group had a limited and nonsignificant effect on pain and trismus when compared with the control group at the 2 times of evaluation. Conclusions: Parenteral use of dexamethasone 4 mg, given as an intraoral injection at the time of surgery, is effective in the prevention of postoperative edema. Increasing the dose to 8 mg provides no further benefit. © 2007 American Association of Oral and Maxillofacial Surgeons
The Conundrum of Success in Music: Playing it or Talking About it?
Get PDFNowadays social media are the main means for conducting discussions and sharing opinions. The huge amount of information generated by social media users is helpful for predicting outcomes of real-world events in different fields, including business, politics and the entertainment industry. In this paper, we studied the possibility of forecasting the success of music albums by analyzing heterogeneous data sources spanning from social media (Twitter, Instagram and Facebook) to mainstream American newspapers (e.g., New York Times, Rolling Stones). The idea is to exploit music albums' pre-release hype and post-release approval to predict the album's rank with reference to the well-known Billboard 200 album chart, which tabulates the weekly popularity of music albums in the USA. To predict the success of a music album, that is its rank in the chart, we identified metrics based on the messages' posting trend, the variation of the sentiment associated to such messages, the number of followers of the album's author, and the importance of the people who talk about it. To evaluate the effectiveness of the proposed metrics we have compared the prediction performances of several models based on supervised learning approaches among those most used in literature. As a result, we obtained that the Random Forest approach is able to predict the music album rank in the Billboard 200 Chart with an expected accuracy of 97%. As a further validation, using this specific model, we also conducted an additional real usage test obtaining an almost matching result (accuracy of 94%)
Italo Calvino: um ponto de vista sobre o papel da tradução na obra literária
Get PDFDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2011Este trabalho tem como objetivo discutir o pensamento de Italo Calvino a respeito da tradução literária. Ele estuda especificamente as reflexões do autor sobre tradução, contidas em alguns de seus ensaios críticos selecionados para esta pesquisa, e também na metalinguagem do romance Se um viajante numa noite de inverno (1990). O que se quer é identificar e discutir quais são, na concepção do autor, as potencialidades e as limitações da tradução na sua relação com a literatura.The present work intends to discuss the thought of Italo Calvino concerning translation of literary works. It specifically studies the reflections of the author on translation as expressed in his critical essays selected for this research and in the metalinguistic novel If on a winter's night a traveler (1981). The main objective of this work is to identify and to discuss the author.s conceptions on potentials and limitations of translation in its relation with literature
A fluidez de Yuxin: uma poética da alma selvagem
Get PDFDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2013.Ao estudar o percurso da representação do índio na literatura brasileira, percebemos que nossa tradição literária, ao abordar essa temática, sofreu influência de uma cultura estrangeira, construindo assim uma imagem do índio em que seu elemento autóctone figurou como representação de padrões e valores morais específicos e estranhos para si. Diante desse cenário, o objetivo desta dissertação é partir do romance Yuxin (2009), de Ana Miranda, para o diálogo com outras obras literárias, tendo como enfoque a linguagem, e a maneira como a autora se utilizou dela para elaborar essa narrativa. Ana Miranda procurou (re)criar um texto performático da cultura indígena, que, em sua poética, contenha uma dicção pessoal e única, carregada de sons, pausas e gestos para dar voz a um povo e contar uma história que questiona pontos de vista de ordem social, política e estética, como também as noções que temos daquilo que é sagrado. A narrativa propõe uma fluidez que parte já de seu título, pois o sentido semântico de yuxin não é estático, pelo contrário, escapa sempre das tentativas de torná-lo concreto, uma vez que é substância fluida, que não se deixa aprisionar. Assim, também essa textualidade nos escapa se a considerarmos apenas em seus aspectos formais, pois é no nível da percepção, daquilo que é fugidio e fugaz, que Yuxin encontra seu sentido. Propomos, então, uma leitura sobre a poética de Yuxin que promova reflexões tecidas a partir de relações entre xamanismo, perspectivismo, musicalidade e pensamento primitivo, já que essas questões se encontram imersas na narrativa e configuram seus arranjos de enunciação. Partindo dessa discussão, percebemos que a questão básica subjacente ao romance pode ser compreendida como uma exclamação de alteridade. Ao enunciar essa voz outra, da figura autóctone e suas relações com o espaço, o texto de Ana Miranda, juntamente com outras narrativas literárias que compartilham da proposta de dar voz ao outro que outrora foi calado, coopera para que se promova um questionamento do lugar de marginalização que os povos ameríndios enfrentam e as fronteiras simbólicas que lhes são impostas como herança do processo de colonização, impulsionando um deslocamento que reconfigura o imaginário coletivo. O discurso literário tem, assim, a capacidade de recriar e reinventar tanto o mito, quanto a história e a memória. Abstract : By studying the trajectory of the representation of Indians in the Brazilian literature, we realized that our literary tradition, concerning to this theme, was influenced by a foreign culture, thereby building up an image of the Indian in his native element figured as representation of standards and specific moral values strange to himself. Given this scenario, the goal of this dissertation is to set forth from the Ana Miranda's novel Yuxin (2009) to the dialogue taken with other literary works, having the language as an approach, and the way the author used it to establish her narrative. Ana Miranda sought to (re)create a performative text of indigenous culture, which, in his poetics, contains a personal and unique diction, full of sounds, pauses and gestures to give voice to a people and tell a story that questions the views of social, political and aesthetic, as well as the notions we have of what is sacred. The narrative proposes a fluidity that comes from the title itself, because the semantic meaning of yuxin is not static, on the contrary, always escapes attempts to make it concrete, since it is fluid substance, which cannot be trapped. Thus, also this textuality eludes us if we consider only its formal aspects, whereas it is at the level of perception, that which is elusive and fleeting, that Yuxin finds its meaning. We propose a reading of Yuxin?s poetics that promotes reflections woven from relations between shamanism, perspectivism, musicality and primitive thought, as these issues are immersed in the narrative and configure their arrangements of enunciation. From this discussion, we realized that the basic issue underlying the novel can be understood as an exclamation of alterity. By stating this other voice, from the autochthonous figure and its relationship with space, the text of Ana Miranda, along with other literary narratives that shares the proposal to give voice to the other that was once silenced, cooperates to promote a questioning of the marginalization place that Amerindian peoples face and the symbolic boundaries imposed on them as a legacy of the colonization process, driving a shift that reconfigures the collective imaginary. The literary discourse thus has the ability to rebuild and reinvent both the myth as history and memory
John Cage e a poética do silêncio
Get PDFTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em LiteraturaEsta tese se propõe a analisar o silêncio a partir da obra de John Cage (especialmente a literária e a musical). Esse silêncio, inicialmente compreendido por Cage como um empírico (a pausa em música), revela-se gradualmente um transcendente: não mais uma substância nem a simples ausência de som, mas um modo da ação (modo de silêncio), aparecendo como estilo, profundidade, aura, dimensão, verticalidade, densidade. Esse silêncio implica modos de percepção e temporalidade próprios, descritos aqui a partir das noções de Gelassenheit (Heidegger) e Awareness (Gestalt) e estabelecendo conexões com as noções de Invisível em Merleau-Ponty e de Nada no Zen-budismo
Avant-garde cinema and set design : Carlo Levi's contribution to cinema (1930-1950)
No full textCes dernières années, la production littéraire et artistique de Carlo Levi a fait l’objet d’études approfondies et de nombreuses publications. Cependant, une partie de son œuvre a été négligée par la critique et notamment son activité de scénographe, de scénariste et de cinéaste. La collaboration de Carlo Levi avec l’industrie cinématographique commence au début des années trente et se poursuit jusqu’au début des années cinquante. Pendant ces années, Levi a l’occasion de collaborer non seulement avec des artistes comme Enrico Paulucci, Italo Cremona et Carlo Mollino, avec qui il réalise les scénographies de Patatrac et de Pietro Micca, mais aussi avec des hommes de lettres tels que Mario Soldati, Rocco Scotellaro et Alberto Moravia. Cette étude vise à reconstruire le parcours cinématographique de Carlo Levi en s’appuyant sur des documents d’archives de nature et de provenance différente : des scénarios, des synopsis, des story-boards mais aussi des contrats commerciaux, pour la plupart inédits. Sa production filmique couvre tous les genres : du comique au dramatique, du documentaire à la comédie musicale. Notre travail rend accessible une partie méconnue de l’œuvre de Carlo Levi en contribuant ainsi à la redécouverte de l’un des auteurs majeurs du XXe siècle.In recent years there have been many in depth studies and publications on Carlo Levi's literary and artistic works. However, a section of his work, in particular his work in set design, script writing and film making in general, has been largely neglected by critics. Carlo Levi's association with the film industry started at the beginning of the nineteen thirties and extended to the beginning of the nineteen fifties. During these years, Carlo Levi had the opportunity to work not only with famous artists like Enrico Paulucci, Italo Cremona and Carlo Mollino, with whom he designed the film sets of Patatrac and Pietro Micca, but also with men of letters of the stature of Mario Soldati, Rocco Scotellaro and Alberto Moravia. The aim of this study is to trace Carlo Levi's career in cinema using information found in archived documentation of various types and from various sources: from sets, synopses and story-boards but also in previously unpublished commercial contracts. The films that he produced cover all genres: from comedy to drama and from documentaries to musicals. Our work makes a hereto unknown section of Carlo Levi's work accessible, thereby contributing to the rediscovery of a major 20th century author
Scotellaro e il popolare
No full textL’intento dell’autore è quello di condurre una riflessione sui rapporti tra Rocco Scotellaro e il popolare a partire dalla collocazione che lo stesso Scotellaro ha, o che per lo meno gli è stata attribuita, nella tradizione degli studi antropologici italiani. Il ruolo di Scotellaro nella rifondazione degli studi avvenuta negli anni del secondo dopoguerra è stato riconosciuto per primo da Alberto M. Cirese, che lo aveva inserito nel suo manuale Cultura egemonica e culture subalterne tra gli intellettuali che avevano contribuito a rinnovare il dibattito e ad avviare nuove imprese documentarie sulle classi subalterne meridionali. Ma, soprattutto, a Scotellaro si fa risalire con l’opera postuma Contadini del Sud la definizione e l’avvio del genere delle scritture autobiografiche popolari in Italia. L’articolo prende poi in considerazione la relazione tra il giovane poeta e sindaco di Tricarico con la realtà contadina del suo tempo, che costituiva la sua matrice sociale e la materia di ispirazione per la sua poesia. In tale quadro si inserisce l’impegno di Scotellaro come coautore di canti popolari e la polemica con de Martino intorno alla canzone della Ràbata. Il saggio si chiude con il riferimento a uno Scotellaro etnografo nella sua descrizione e interpretazione del Carnevale di Tricarico.The author discusses the relationship between Rocco Scotellaro and popular culture, starting from Scotellaro ́s own positioning or, better, the positioning that has traditionally been attributed to him by Italian anthropologists. The first to acknowledge Scotellaro ́s impact on the renovation of the Italian School of anthropology in the post-World War 2 period was Alberto Mario Cirese, who in Cultura egemonica e culture subaltern referred to him as one of the intellectuals who had contributed to the renewal of the national debate and to the rise of new documentation campaigns focused on Southern Italy ́s subaltern classes. Scholars, however, especially focus on the importance of Scotellaro ́s posthumous volume Contadini del Sud, which they believe to have defined and launched the genre of popular autobiographic writing in Italy. This essay also tackles the relations between the young poet and mayor of Tricarico and the peasant society of his time, which was the social matrix and source of inspiration for his poems. It is within this framework that Scotellaro co-authored popular chants and opposed de Martino ́s view on the Rabata song. Finally, this essay makes reference to Scotellaro ́s ethnographic approach to the description and interpretation of Tricarico ́s Carnival
From Public to Private: Privatization in 1920's Fascist Italy
Get PDFItaly’s first Fascist government applied a large-scale privatization policy between 1922 and 1925. The government privatized the state monopoly of match sale, eliminated the State monopoly on life insurances, sold most of the State-owned telephone networks and services to private firms, reprivatized the largest metal machinery producer, and awarded concessions to private firms to build and operate motorways. While ideological considerations may have had a certain influence, privatization was used mainly as a political tool to build confidence among industrialists and to increase support for the government and the Partito Nazionale Fascista. Privatization also contributed to balancing the budget, which was the core objective of Fascist economic policy in its first phase.Privatization,Public Enterprise,Government,Fascist Economy,Italy
Necrológio de Victor Giudice: artimanhas ficcionais em tempos ditatoriais
Get PDFTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.A presente tese tem como objetivo abordar as narrativas de Necrológio, obra inaugural de Victor Giudice, publicada em 1972, em sua relação com o período ditatorial brasileiro. Assim como outros artistas do contexto, o escritor se utiliza de estratégias para driblar a censura da ditadura militar. Com Necrológio, Giudice assume o papel de artífice de sua própria época através da carnavalização da temática da morte, uma protagonista da qual seus personagens se tornam simulacros. Através do fantástico e da metamorfose, o autor expõe personagens que são inquilinos de um universo desumanizado.The present thesis aims to approach Necrológio, Victor Giudice's inaugural book published in 1972, in its relations to Brazilian dictatorship. Victor Giudice, as many other artists in that context, uses strategies to trick censorship in the dictatorial period. With Necrológio, Giudice takes the role of artificer of his own time through the carnavalization of the thematic of death, the main protagonist of his book to which his characters function as simulacra. Through the fantastic and the matamorphosis, the author exposes characters that inhabit a deshumanized universe
