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    Morte Per Anafilassi In Seguito A Somministrazione Intramuscolo Di Diclofenac

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    La diagnosi post mortem di shock anafilattico risulta sovente complessa in ragione soprattutto della non infrequente aspecificità del riscontro autoptico. Oggetto del presente contributo è il caso di una donna, con anamnesi positiva allergica al "Diclofenac" a cui veniva prescritto proprio tale farmaco da iniettare i.m., dal proprio medico curante. Come prescritto, il marito della donna effettuava la prima iniezione, seguita dopo pochi minuti da improvviso quanto intenso malore che si concludeva con il decesso. L'ispezione esterna rilevava segni aspecifici, mentre l'esame interno evidenziava edema cerebrale, iperemia, ed edema delle prime vie aeree, congestione polmonare. L'esame tossicologico su sangue ed urina escludeva la presenza di sostanze tossiche esogene di interesse tossicologico ad eccezione del Diclofenac (presente anche nella siringa e nella fiala sequestrate). L'esame istologico sulle vie aeree mostrava oltre a marcato edema e vasodilatazione, cospicua infiltrazione mastocitaria. La singolarità del caso risiede proprio nella perfetta coincidenza di tutti i classici elementi di giudizio in tema di morte per avvelenamento: anamnestico-circostanziale; clinico; anatomo-patologico; tossicologico; di esclusione di altra causa. Ancor più singolare è il fatto che a prescrivere la specialità medicinale fu proprio il medico curante della donna che la teneva in cura da ben trent'anni ed al quale era ben nota la sensibilità della paziente al farmacoPost-mortem diagnosis of anaphylactic shock due to many problems because the autopsy findings are not specific. The subject of this work is the case of a woman with a history of allergy to "Diclofenac" which was just prescribed the drug to be injected i.m. by her doctor. The woman's husband was the first injection followed after a few minutes from sudden illness that ended with the death. The external inspection noted non-specific signs, while the internal examination showed cerebral oedema, hyperaemia and oedema of the upper airways, lung congestion. The blood and urine drug test to rule out the presence of exogenous substances of toxicological interest with the exception of Diclofenac. Histological examination showed airway oedema, vasodilatation, and mast cell infiltration. The uniqueness of the case lies in the perfect coincidence of all the classic elements of assessment in terms of death from poisoning: circumstantial anamnestic, clinical, pathological, toxicological, exclusion of other causes. Even more remarkable is the fact that it was the prescribing physician of the woman who kept her under the care of thirty years and who had known the patient's sensitivity to the dru

    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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