628 research outputs found
Medication-assisted treatment of opioid dependence information toolkit.
No full textThis information kit developed by researchers at the National Drug and Alcohol Research Centre at UNSW provides a step by step guide to the evidence for medically assisted treatment for heroin dependence as well as answering commonly asked questions. Heroin or opioid dependence can be treated with medication and psychosocial support, also known as medication-assisted treatment of opioid dependence (MATOD). The most common medicines used for MATOD in Australia are methadone, buprenorphine and naltrexone.
There is a strong body of research that underpins the use of these and other medicines, but NDARC’s Professor Kate Dolan says often people are uncertain about the role of MATOD in treating heroin or opioid use and dependence. “Heroin dependence can lead to serious health, social and economic consequences for users, their families and society,” said Professor Dolan. “The more information and easy to understand research evidence we can provide for affected people and for the wider community, the better outcomes for those seeking help.”
This Information Kit includes two booklets. The first booklet answers some of the most frequently asked questions about MATOD and addresses common misunderstandings, while the second booklet provides a review of evidence of MATOD
A randomised, double-blind, placebo-controlled study of lisdexamfetamine for the treatment of methamphetamine dependence: The LiMA study protocol
No full textPaper 228Nadine Ezard, Adrian J. Dunlop, Andrew Carr, Rebecca Mcketin, Robert Ali, Jason White, Raimondo Bruno, Kate Dolan, Brendan Clifford & Nicholas Lintzeri
How we feel depends on what we pay attention to
No full textPolicymakers are increasingly focusing on wellbeing as a policy goal, leaning on wellbeing measures to aid their work. Paul Dolan writes that the existing frameworks fail to properly account for the fundamental mechanism that determines our wellbeing: what we attend to. Together with colleagues Kate Laffan and Laura Kudrna, he created the Welleye framework, which shows the role of attention in linking the objective circumstances of people’s lives to how they spend their time – and ultimately to how they feel
A Lenda do Changeling subvertida: uma análise de You not Mother (2021), de Kate Dolan, a luz do Folk Horror e Irlandesidade
No full textThe folk horror subgenre can be understood as folkloric narratives applied into the context of horror. In other words, it embraces certain legends and myths to create an atmosphere that privileges superstitions, natural spaces, and folklore as tools capable of causing fear. Specifically on Irish cinema, Celtic myths emerge as a result of the country\u27s imaginative capacity. In Ireland, which is built on Celtic heritage, figures such as the changeling emerge in a nation that, despite its Catholic influences, allows other types of so-called pagan beliefs. In the changeling myth, when a beautiful child is born, the fairies organize to kidnap it to beautify their race. In exchange, the creatures leave a fairy\u27s offspring in the child\u27s place, creating unpleasant situations for the human family. Therefore, Irish cinema can reflect this context, as in the case of You Are Not My Mother (2021), by Kate Dolan, which tells the story of a mother and daughter who are haunted by the changeling. In Dolan\u27s film, however, the legend is subverted, as the fairies kidnap the mother, resulting in discomfort for the daughter who seeks to resolve the situation. So, this article seeks to analyze You Are Not My Mother from the perspective of the folkloric and religious construction of Ireland and how Dolan explores the subversion of the changeling myth through the folk horror subgenre. The selected methodology is content analysis.El subgénero del folk horror puede entenderse como narrativas folclóricas aplicadas al contexto del terror. En otras palabras, se basa en ciertas leyendas y mitos para crear una atmósfera que privilegia las supersticiones, los espacios naturales y el folclore como herramientas capaces de infundir miedo. En el caso del cine irlandés, las leyendas celtas surgen como resultado de la capacidad imaginativa del país. En Irlanda, con ascendencia celta, figuras como el changeling surgen en una nación que, a pesar de sus influencias católicas, permite otro tipo de creencias, las llamadas paganas. En la leyenda del changeling, cuando nace un niño hermoso, las hadas se organizan para secuestrarlo para embellecer su raza. A cambio, las criaturas dejan a la descendencia de un hada en su lugar, creando situaciones desagradables para la familia humana. En este sentido, el cine irlandés puede refleja este contexto, como en el caso de You Are Not My Mother (2021), de Kate Dolan, que narra la historia de una madre y una hija atormentadas por el changeling. Sin embargo, en la película de Dolan, la leyenda se subvierte cuando las hadas secuestran a la madre, lo que genera incomodidad en la hija, quien busca resolver la situación. De esa manera, este artículo busca analizar You Are Not My Mother desde la perspectiva de la construcción folclórica y religiosa de Irlanda y cómo Dolan explora la subversión de la leyenda del changeling a través del subgénero del folk horror. La metodología elegida es el análisis de contenido.O subgênero folk horror pode ser entendido como narrativas folclóricas aplicadas no contexto do terror. Ou seja, é um que acolhe determinadas lendas e mitos para a criação de uma atmosfera que privilegia superstições, o espaço natural e o folclore enquanto ferramentas capazes de causar temor. No caso do cinema irlandês, lendas celtas emergem como fruto da capacidade imaginativa do país. Na Irlanda, que possui uma construção pautada na ancestralidade celta, figuras como o changeling emergem em uma nação que, apesar de suas influências católicas, permite outros tipos de crenças ditas pagãs. Na lenda do changeling, quando nasce uma criança bela, as fadas se organizam para sequestrá-la a fim de embelezar sua raça. Em troca, as criaturas deixam uma prole de uma fada no lugar da criança, gerando situações desagradáveis para a família humana. Nesse sentido, filmes irlandeses podem refletir esse contexto, como no caso de You Are Not My Mother (2021), de Kate Dolan, que conta a história de mãe e filha que são assoladas pelo changeling. No filme de Dolan, contudo, a lenda é subvertida, uma vez que as fadas sequestram a mãe, resultando em desconforto para a filha que busca resolver a situação. Assim, o presente artigo busca analisar You Are Not My Mother a partir das óticas da construção folclórica e religiosa da Irlanda e como Dolan explora a subversão da lenda do changeling através do subgênero folk horror. A metodologia selecionada é a análise de conteúdo
Neural correlates of processing valence and arousal in affective words
No full textPsychological frameworks conceptualize emotion along 2 dimensions, "valence" and "arousal." Arousal invokes a single axis of intensity increasing from neutral to maximally arousing. Valence can be described variously as a bipolar continuum, as independent positive and negative dimensions, or as hedonic value (distance from neutral). In this study, we used functional magnetic resonance imaging to characterize neural activity correlating with arousal and with distinct models of valence during presentation of affective word stimuli. Our results extend observations in the chemosensory domain suggesting a double dissociation in which subregions of orbitofrontal cortex process valence, whereas amygdala preferentially processes arousal. In addition, our data support the physiological validity of descriptions of valence along independent axes or as absolute distance from neutral but fail to support the validity of descriptions of valence along a bipolar continuum
Acquiring hepatitis C in prison: the social organisation of injecting risk
No full textAim: The potential for transmission of hepatitis C virus (HCV) in prison settings is well established and directly associated with sharing of injecting and tattooing equipment, as well as physical violence. This study is one of the first to examine the circumstances surrounding the acquisition of HCV in the prison setting via inmates' own accounts. Method: This is a sub-study of a cohort of prison inmates in New South Wales, Australia. Cohort participants were inmates who had reported ever injecting drugs and who had a negative HCV serological test within 12months prior to enrolment. Cohort participants were monitored every 3 to 6months for HCV antibodies and viraemia and via behavioural risk practices questionnaire. Participants with a documented HCV seroconversion were eligible to participate in in-depth interviews with a research nurse known to them. Results: Participants included six inmates (four men, two women) with documented within-prison HCV seroconversion. Participants reported few changes to their injecting practices or circumstances that they attributed to HCV acquisition. Participants believed that they were sharing syringes with others who were HCV negative and trusted that others would have declared their HCV status if positive. Some participants described cleaning equipment with water, but not with disinfectant. In a departure from usual routine, one participant suggested that he may have acquired HCV as a result of using a syringe pre-loaded with drugs that was given to him in return for lending a syringe to another inmate. Participants described regret at acquiring HCV and noted a number of pre- and post-release plans that this diagnosis impacted upon. Conclusions: Acquiring hepatitis C was not a neutral experience of participants but generated significant emotional reactions for some. Decisions to share injecting equipment were influenced by participants' assumptions of the HCV status of their injecting partners. The social organisation of injecting, in trusted networks, is a challenge for HCV prevention programs and requires additional research
O estilo cinematográfico de Xavier Dolan
No full textEste trabalho se propõe a analisar o estilo cinematográfico de Xavier Dolan, a partir dos cinco primeiros longas-metragens do diretor: Eu Matei Minha Mãe (2009), Amores Imaginários (2010), Laurence Para Sempre (2012), Tom na Fazenda (2013) e Mommy (2014). A pesquisa tem como objetivo analisar o estilo de Dolan a partir da compreensão das técnicas cinematográficas utilizadas pelo diretor. Pretende-se também examinar como o cineasta cria padrões estilísticos através dos elementos visuais em seus filmes. A pesquisa busca ainda verificar de que forma Dolan, ao exercer diversos papéis na realização de seus filmes, contribui para a construção de um estilo autoral. O trabalho tem como principal referencial teórico o livro A arte do cinema: Uma introdução (2013), de David Bordwell e Kristin Thompson. Assim, a pesquisa se encontra dividida em três capítulos. No primeiro, são feitas contextualizações sobre forma fílmica e estilo cinematográfico, modos de produção cinematográfica, funções do diretor e seu trabalho como autor, além de apresentar o cineasta e os filmes que serão analisados. Os conceitos sobre forma e estilo são úteis para compreender as técnicas cinematográficas, enquanto que examinar os modelos de produção no cinema e o trabalho do diretor permite um melhor entendimento das escolhas técnicas. Já as informações sobre o diretor e os filmes são fundamentais para analisar o estilo de Dolan. No segundo, são abordadas as técnicas relacionadas à imagem fotográfica, divididas em quatro categorias: iluminação, amplitude tonal, velocidade do movimento e perspectiva. Ao mesmo tempo, são apresentadas as análises do uso das técnicas nos filmes. No terceiro capítulo, são apresentadas técnicas cinematográficas de enquadramento – dimensões e formas do quadro, ângulo, nível, altura e distância do enquadramento, e quadro móvel – e as respectivas análises. Foram selecionadas para as análises as técnicas proeminentes usadas pelo diretor, considerando aquelas que são recorrentes ou que diferenciam o trabalho do diretor dos demais cineastas.This study aims to analyze the film style of Xavier Dolan, as expressed in his five first films: J'ai tué ma mère (2009), Les Amours Imaginaires (2010), Laurence Anyways (2012), Tom à la Ferme (2013) and Mommy (2014). The research aims to analyze the style of Dolan from understanding of film techniques used by the director. This study also intended to examine how the filmmaker creates stylistic standards through visual elements in his films. The research also seeks to see how Dolan contributes to the construction of an authorial style by exercising various roles in the realization of his movies. The main theoretical reference of this study is the book Film art: An introduction (2013), written by David Bordwell and Kristin Thompson. The research is divided into three chapters. Firstly, it is made contextualization of film form and film style, film production modes, director’s roles and work as an author, as well as presenting the filmmaker and the movies. The concepts of form and style are useful to understand the film techniques, while examining the film production models and the director's work allows a better understanding of the technical choices. The information about the director and the movies are fundamental to analyze the style of Dolan. The second chapter presents the techniques related to the photographic image, divided into four categories: lighting, tonal range, speed of movement and perspective. At the same time, the analyses of the use of these techniques in the films are presented. The third chapter presents film techniques framing – dimensions and frame shapes, angle, level, height and distance of the frame and mobile frame – and analyses. For the analyses, the prominent techniques used by the director were selected considering those that are recurrent or that differentiate the work of the director of other filmmakers
Mechanisms of top-down facilitation in perception of visual objects studied by fMRI
No full textPrior knowledge regarding the possible identity of an object facilitates its recognition from a degraded visual input, though the underlying mechanisms are unclear. Previous work implicated ventral visual cortex but did not disambiguate whether activity-changes in these regions are causal to or merely reflect an effect of facilitated recognition. We used functional magnetic resonance imaging to study top-down influences on processing of gradually revealed objects, by preceding each object with a name that was congruent or incongruent with the object. Congruently primed objects were recognized earlier than incongruently primed, and this was paralleled by shifts in activation profiles for ventral visual, parietal, and prefrontal cortices. Prior to recognition, defined on a trial-by-trial basis, activity in ventral visual cortex rose gradually but equivalently for congruently and incongruently primed objects. In contrast, prerecognition activity was greater with congruent priming in lateral parietal, retrosplenial, and lateral prefrontal cortices, whereas functional coupling between parietal and ventral visual (and also left lateral prefrontal and parietal) cortices was enhanced in the same context. Thus, when controlling for recognition point and stimulus information, activity in ventral visual cortex mirrors recognition success, independent of condition. Facilitation by top-down cues involves lateral parietal cortex interacting with ventral visual areas, potentially explaining why parietal lesions can lead to deficits in recognizing degraded objects even in the context of top-down knowledge
La postproducción en el cine de Xavier Dolan
No full textEn la presente memoria se desarrolla una investigación que constituye el Trabajo final de
Máster en Postproducción Digital de la Universitat Politècnica de València. En él se
pretende realizar un análisis de la filmografía completa del director Xavier Dolan, para ver
el papel que tiene la postproducción en su cine y cómo ésta es tan importante en la
narración.
Xavier Dolan es un director de cine canadiense nacido en 1989. Sus películas se
enmarcan dentro del cine independiente, ya que se realizan al margen de los circuitos
comerciales y de producción habituales. En ellas, tiene un papel preponderante,
realizando otras funciones, como guionista, productor o actor, por lo que se le considera
un director que realiza cine de autor. En este tipo de cine, el autor es normalmente
identificable por algunos rasgos típicos en su obra. Estos son los que trataremos de
analizar en este trabajo, centrándonos principalmente en los rasgos relacionados con la
postproducción.
Para ello, analizaremos los diferentes mecanismos empleados por este director en sus
películas, con el fin de contemplar cómo la postproducción influye en la narración y cómo
es usada para provocar una serie de emociones en el espectador. También veremos
cómo la postproducción influye en la construcción de su particular estilo narrativo.A research for the final thesis of the Master Degree on Digital Postproduction at the
Universitat Politècncia de Valencia is developed in the present paper. The aim was to
analyse the complete filmography of the director Xavier Dolan, in order to explore the role
that postproduction plays in his cinema and its importance in the narrative.
Xavier Dolan is a Canadian cinema director born in 1989. His movies are framed within the
independent cinema, outside the commercial circuits and usual production processes.
Directing the movies is his prevailing role, although he also performs other functions as
scriptwriter, producer, or actor, for it is considered as a experimental films director. In this
type of cinema, the author is normally identifiable for some unique traits of his work. The
goal of the present study is to analyse these traits, focusing mainly in the postproduction
related ones.
For that, we will analyse the different mechanisms used by this director in his films, as a
way to examine how the postproduction influences the narrative and how it is used to
cause a series of emotions in the audience. We will also study how postproduction
influences the construction of his personal narrative style.Escobar Picazo, A. (2016). La postproducción en el cine de Xavier Dolan. Universitat Politècnica de València. https://riunet.upv.es/handle/10251/74190TFG
A Clinician's Survival Guide to Leadership and Management on the Ward
No full textWhen you become a ward or unit manager or allied health professionals team leader, your responsibilities change and you need a very different set of skills compared with your previous roles. You are now required to manage a team of staff with a set budget and are responsible for maintaining an environment in which people can work together efficiently and effectively. This new fourth edition of the Survival Guide to Leadership and Management on the Ward welcomes AHP Krishna Gohil to the author team of nurses Brian Dolan and Amy Lochtie, and thereby extends its guidance on these crucial skills to both nurses and allied health professionals
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