1,721,048 research outputs found
Is the human round window really round? An anatomic study with surgical implications.
No full textHuman round window (RW) presents anatomic variations that may influence surgical approach. The true shape of the human RW has been divisive since its first description in 1772 by Antonio Scarpa. Introduction of novel surgical strategies in recent years have raised its significance. Here, the human RW size and shape variations were documented in microdissected human temporal bones. An archival collection of human microdissected temporal bones was analyzed. RW rim could be delineated and photographed from the labyrinthine aspect and its topography assessed. Human RW is seldom round but ovoid or orthogonal, skewed, and nonplanar (saddlelike). Membrane is fan shaped or conical with an anteroinferior and a posterosuperior part. The mean longest diameter was 1.90 mm, and the smallest one is 1.54 mm. The mean diameter from the crista fenestra was 1.31 mm. The mean area of the RW was 2.08 mm, which varied between 0.99 and 3.20 mm. The crista fenestrae of the anterior component form a "doorstep" that may limit the entry to the scala tympani from the RW niche. The alternate anatomic features of the human RW may influence its surgical access and designs of implants aimed at targeting this region
Forskning om funktionshinder pågår 2012:3
No full texts. 2. Samtalsträning hjälper vid afasi s. 4. Rätt stöd till personer med dövblindhet s. 6. Många vinner på elitidrotten s. 8. Paraolympics lyfter viktiga frågor s. 9. Hallå där! Helge Rask-Andersen s. 9. Läsvärt s. 10. Avhandling s. 12. KalendernFelaktig ISSN i tidningen: 1103-1956. Den rätta är 2000-1789</p
Forskning om funktionshinder pågår 2012:3
No full texts. 2. Samtalsträning hjälper vid afasi s. 4. Rätt stöd till personer med dövblindhet s. 6. Många vinner på elitidrotten s. 8. Paraolympics lyfter viktiga frågor s. 9. Hallå där! Helge Rask-Andersen s. 9. Läsvärt s. 10. Avhandling s. 12. KalendernFelaktig ISSN i tidningen: 1103-1956. Den rätta är 2000-1789</p
Immunodefence of the Inner Ear?: Lymphocyte-Macrophage Interaction in the Endolymphatic Sac
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The Blood Capillaries in the Subodontoblastic Region of the Human Dental Pulp, as Demonstrated by Freeze-Fracturing
No full textMembrane Junctions in the Subodontoblastic Region: A Freeze-Fracture Study of the Human Dental Pulp
No full text
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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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