1,720,999 research outputs found
Epidemiological case survey of medical malpractice in some medical and surgical specialities.
No full textIn this paper, the authors made a retrospective analysis of 37 of all the 725 legal suits filed in some hospitals of the Apulian region (South Italy) during the period between 1991 and 2000, being all those lodged against operators in the neurological, urological, otorhino-laryngoiatric and cardiosurgical fields, recorded in the Archives of the Health Services of Bari, Brindisi, Lecce and Taranto or in those of our Forensic Department following consultations on medical and surgical responsibility. The idea that doctors never make professional mistakes has gradually changed in recent years, as can easily be understood from the medical literature on the subject, since it has become recognized that a medical (iatrogenic) mistake, although always possible bearing in mind the difficulties inherent to the profession itself, is often the final link in a chain of factors, so that the last figure called upon to act is not necessarily the one responsible, or at any rate not the only one responsible for the adverse or terminal event. This change in attitude is due to the fact that more and more often the patient is cared for not by a single doctor but by a whole team that belongs, moreover, in its turn to a health facility that must possess certain quality and efficiency features. However, these are dependent on the one hand on the availability of financial resources, that are chronically deficient in Italy, and on the other, on other professional figures apart from the medical team. The fragmentation of diagnostic activities and this shift towards a wider frame of responsibility are the main problems as regards the attribution of professional responsibility in the medical field, because there is a risk either of incriminating health workers who in practice had little or nothing to do with the adverse event, or else of being unable to attribute responsibility and thus failing to satisfy the needs of justice, so depriving the weakest element in the situation, the patient, of the right to legal safeguards and restitution in the form of damages
Considerazione su un campione di casi di responsabilità professionale in ambito odontoiatrico.
No full textBresci
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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