85 research outputs found
Simone and André Schwarz-Bart : throught the analysis of multiple authorship
No full textCette thèse a pour but d’explorer les enjeux et les problématiques de la collaboration littéraire, et s’attache à démontrer que la création littéraire est fondamentalement plurielle. Elle appuie son analyse sur une étude de cas pratique : celle du couple d’écrivains Simone et André Schwarz-Bart.Si l’écriture plurielle est un mode de création très répandu dans la pratique, elle n’est que fort peu étudiée et reconnue : les recherches s’attardent plus aisément sur les auteurs qui auraient écrit seuls, le grand public projette sur l’auteur une aura chargée de génie et de solitude. Partant de ce constat, il semble essentiel de parcourir les représentations et définitions de l’auctorialité au fil de l’histoire littéraire afin de comprendre la manière dont est abordée la coauctorialité, la création plurielle lorsqu’elle est vue par la critique, et par le grand public. Cette approche nécessite de distinguer l’auteur de l’écrivain, et par conséquent d’interroger la place du signataire dans le champ de la littérature.Cette mise au point théorique est nécessaire pour comprendre ce qui se joue dans la collaboration littéraire de Simone et André Schwarz-Bart : trois signatures apparaissent en effet au fil de leur parcours littéraire. Des œuvres signées de leur seul nom côtoient d’autres cosignées, dont Un plat de porc aux bananes vertes- Seuil, 1967, qui projette Simone Schwarz-Bart sur la scène littéraire française et francophone. La parution, après la mort d’André Schwarz-Bart, d’œuvres signées de son seul nom (L'étoile du matin – Seuil, 2009) et cosignées (L'ancêtre en Solitude- Seuil, 2015 et Adieu Bogota – Seuil, 2017) confirme que, chez les Schwarz-Bart, l’acte d’écrire ne coïncide pas exactement avec celui de signer.Ce travail repose sur l’étude précise des romans de Simone et André Schwarz-Bart publiés entre 1967 et 2017, mais il s’appuie également sur des archives qui mettent en lumière les mécanismes de construction des auteurs et de leur signature, ainsi que sur des manuscrits qui éclairent l’élaboration de l’œuvre elle-même.Cette thèse, par l’étude du cas schwarz-bartien, invite à interroger et repenser notre manière d’envisager l’acte d’écrire, de signer, et de percevoir la signature d’une œuvre littéraire, et suscite une réflexion plus générale sur les enjeux de la création littéraire.The purpose of this thesis is to explore the stakes and issues of multiple authorship. It seeks to demonstrate that literary creation is fundamentally plural. It proposes, as an illustration, a practical case study, that of the writers Simone and André Schwarz-Bart.If plural writing is a mode of creation that is widely practiced, it is nevertheless little studied and recognized: research focuses more favorably on the authors who have written alone. From this observation, it seems essential to observe the evolution of the representation of the author over time, in order to understand the impact of this representation on the way we consider plural creation. This thesis therefore invites us to grasp what distinguishes the author from the writer, and consequently to question the place of the signer in the field of literature. Going through the representations and definitions of authorship throughout literary history, it attempts to understand what is at stake with co-authorship.This theoretical clarification is necessary to understand the literary collaboration of Simone and André Schwarz-Bart: three signatures appear throughout their literary career. Works signed with only one of their two names (like the novels Le dernier des Justes - Seuil, 1959, and La mulâtresse Solitude - Seuil, 1972, by André Schwarz-Bart, Pluie et vent sur Télumée Miracle - Seuil, 1972, Ti-Jean l'Horizon - Seuil, 1979 and the play Ton beau capitaine - 1987, by Simone Schwarz-Bart) stand alongside those that are co-written, including Un plat de porc aux bananes vertes - Seuil, 1967, which has put Simone Schwarz-Bart at the forefront of the French literary scene. For the Schwarz-Barts, the act of writing does not necessarily match the act of signing. Indeed, the couple of writers intrigues: after André Schwarz-Bart’s death, works signed with his name alone (L'étoile du matin - Seuil, 2009) and co-signed (L'ancêtre en Solitude - Seuil, 2015 and Adieu Bogota - Seuil, 2017) are still released.Thus, the practical study of the Schwarz-Bart couple allows us to raise many questions about how to consider the act of writing, but also how to sign the literary work. This thesis is therefore based as much on archives that highlight the mechanisms of construction of the authors and their signatures, as on manuscripts that shed light on the elaboration of the Schwarz-Barts work. It is based on the precise study of the novels of Simone and André Schwarz-Bart, published between 1967 and 2017. It invites reflection on the issues of literary creation
Simone et André Schwarz-Bart : analyse d’une collaboration littéraire
No full textThe purpose of this thesis is to explore the stakes and issues of multiple authorship. It seeks to demonstrate that literary creation is fundamentally plural. It proposes, as an illustration, a practical case study, that of the writers Simone and André Schwarz-Bart.If plural writing is a mode of creation that is widely practiced, it is nevertheless little studied and recognized: research focuses more favorably on the authors who have written alone. From this observation, it seems essential to observe the evolution of the representation of the author over time, in order to understand the impact of this representation on the way we consider plural creation. This thesis therefore invites us to grasp what distinguishes the author from the writer, and consequently to question the place of the signer in the field of literature. Going through the representations and definitions of authorship throughout literary history, it attempts to understand what is at stake with co-authorship.This theoretical clarification is necessary to understand the literary collaboration of Simone and André Schwarz-Bart: three signatures appear throughout their literary career. Works signed with only one of their two names (like the novels Le dernier des Justes - Seuil, 1959, and La mulâtresse Solitude - Seuil, 1972, by André Schwarz-Bart, Pluie et vent sur Télumée Miracle - Seuil, 1972, Ti-Jean l'Horizon - Seuil, 1979 and the play Ton beau capitaine - 1987, by Simone Schwarz-Bart) stand alongside those that are co-written, including Un plat de porc aux bananes vertes - Seuil, 1967, which has put Simone Schwarz-Bart at the forefront of the French literary scene. For the Schwarz-Barts, the act of writing does not necessarily match the act of signing. Indeed, the couple of writers intrigues: after André Schwarz-Bart’s death, works signed with his name alone (L'étoile du matin - Seuil, 2009) and co-signed (L'ancêtre en Solitude - Seuil, 2015 and Adieu Bogota - Seuil, 2017) are still released.Thus, the practical study of the Schwarz-Bart couple allows us to raise many questions about how to consider the act of writing, but also how to sign the literary work. This thesis is therefore based as much on archives that highlight the mechanisms of construction of the authors and their signatures, as on manuscripts that shed light on the elaboration of the Schwarz-Barts work. It is based on the precise study of the novels of Simone and André Schwarz-Bart, published between 1967 and 2017. It invites reflection on the issues of literary creation.Cette thèse a pour but d’explorer les enjeux et les problématiques de la collaboration littéraire, et s’attache à démontrer que la création littéraire est fondamentalement plurielle. Elle appuie son analyse sur une étude de cas pratique : celle du couple d’écrivains Simone et André Schwarz-Bart.Si l’écriture plurielle est un mode de création très répandu dans la pratique, elle n’est que fort peu étudiée et reconnue : les recherches s’attardent plus aisément sur les auteurs qui auraient écrit seuls, le grand public projette sur l’auteur une aura chargée de génie et de solitude. Partant de ce constat, il semble essentiel de parcourir les représentations et définitions de l’auctorialité au fil de l’histoire littéraire afin de comprendre la manière dont est abordée la coauctorialité, la création plurielle lorsqu’elle est vue par la critique, et par le grand public. Cette approche nécessite de distinguer l’auteur de l’écrivain, et par conséquent d’interroger la place du signataire dans le champ de la littérature.Cette mise au point théorique est nécessaire pour comprendre ce qui se joue dans la collaboration littéraire de Simone et André Schwarz-Bart : trois signatures apparaissent en effet au fil de leur parcours littéraire. Des œuvres signées de leur seul nom côtoient d’autres cosignées, dont Un plat de porc aux bananes vertes- Seuil, 1967, qui projette Simone Schwarz-Bart sur la scène littéraire française et francophone. La parution, après la mort d’André Schwarz-Bart, d’œuvres signées de son seul nom (L'étoile du matin – Seuil, 2009) et cosignées (L'ancêtre en Solitude- Seuil, 2015 et Adieu Bogota – Seuil, 2017) confirme que, chez les Schwarz-Bart, l’acte d’écrire ne coïncide pas exactement avec celui de signer.Ce travail repose sur l’étude précise des romans de Simone et André Schwarz-Bart publiés entre 1967 et 2017, mais il s’appuie également sur des archives qui mettent en lumière les mécanismes de construction des auteurs et de leur signature, ainsi que sur des manuscrits qui éclairent l’élaboration de l’œuvre elle-même.Cette thèse, par l’étude du cas schwarz-bartien, invite à interroger et repenser notre manière d’envisager l’acte d’écrire, de signer, et de percevoir la signature d’une œuvre littéraire, et suscite une réflexion plus générale sur les enjeux de la création littéraire
Simone et André Schwarz-Bart : analyse d’une collaboration littéraire
No full textThe purpose of this thesis is to explore the stakes and issues of multiple authorship. It seeks to demonstrate that literary creation is fundamentally plural. It proposes, as an illustration, a practical case study, that of the writers Simone and André Schwarz-Bart.If plural writing is a mode of creation that is widely practiced, it is nevertheless little studied and recognized: research focuses more favorably on the authors who have written alone. From this observation, it seems essential to observe the evolution of the representation of the author over time, in order to understand the impact of this representation on the way we consider plural creation. This thesis therefore invites us to grasp what distinguishes the author from the writer, and consequently to question the place of the signer in the field of literature. Going through the representations and definitions of authorship throughout literary history, it attempts to understand what is at stake with co-authorship.This theoretical clarification is necessary to understand the literary collaboration of Simone and André Schwarz-Bart: three signatures appear throughout their literary career. Works signed with only one of their two names (like the novels Le dernier des Justes - Seuil, 1959, and La mulâtresse Solitude - Seuil, 1972, by André Schwarz-Bart, Pluie et vent sur Télumée Miracle - Seuil, 1972, Ti-Jean l'Horizon - Seuil, 1979 and the play Ton beau capitaine - 1987, by Simone Schwarz-Bart) stand alongside those that are co-written, including Un plat de porc aux bananes vertes - Seuil, 1967, which has put Simone Schwarz-Bart at the forefront of the French literary scene. For the Schwarz-Barts, the act of writing does not necessarily match the act of signing. Indeed, the couple of writers intrigues: after André Schwarz-Bart’s death, works signed with his name alone (L'étoile du matin - Seuil, 2009) and co-signed (L'ancêtre en Solitude - Seuil, 2015 and Adieu Bogota - Seuil, 2017) are still released.Thus, the practical study of the Schwarz-Bart couple allows us to raise many questions about how to consider the act of writing, but also how to sign the literary work. This thesis is therefore based as much on archives that highlight the mechanisms of construction of the authors and their signatures, as on manuscripts that shed light on the elaboration of the Schwarz-Barts work. It is based on the precise study of the novels of Simone and André Schwarz-Bart, published between 1967 and 2017. It invites reflection on the issues of literary creation.Cette thèse a pour but d’explorer les enjeux et les problématiques de la collaboration littéraire, et s’attache à démontrer que la création littéraire est fondamentalement plurielle. Elle appuie son analyse sur une étude de cas pratique : celle du couple d’écrivains Simone et André Schwarz-Bart.Si l’écriture plurielle est un mode de création très répandu dans la pratique, elle n’est que fort peu étudiée et reconnue : les recherches s’attardent plus aisément sur les auteurs qui auraient écrit seuls, le grand public projette sur l’auteur une aura chargée de génie et de solitude. Partant de ce constat, il semble essentiel de parcourir les représentations et définitions de l’auctorialité au fil de l’histoire littéraire afin de comprendre la manière dont est abordée la coauctorialité, la création plurielle lorsqu’elle est vue par la critique, et par le grand public. Cette approche nécessite de distinguer l’auteur de l’écrivain, et par conséquent d’interroger la place du signataire dans le champ de la littérature.Cette mise au point théorique est nécessaire pour comprendre ce qui se joue dans la collaboration littéraire de Simone et André Schwarz-Bart : trois signatures apparaissent en effet au fil de leur parcours littéraire. Des œuvres signées de leur seul nom côtoient d’autres cosignées, dont Un plat de porc aux bananes vertes- Seuil, 1967, qui projette Simone Schwarz-Bart sur la scène littéraire française et francophone. La parution, après la mort d’André Schwarz-Bart, d’œuvres signées de son seul nom (L'étoile du matin – Seuil, 2009) et cosignées (L'ancêtre en Solitude- Seuil, 2015 et Adieu Bogota – Seuil, 2017) confirme que, chez les Schwarz-Bart, l’acte d’écrire ne coïncide pas exactement avec celui de signer.Ce travail repose sur l’étude précise des romans de Simone et André Schwarz-Bart publiés entre 1967 et 2017, mais il s’appuie également sur des archives qui mettent en lumière les mécanismes de construction des auteurs et de leur signature, ainsi que sur des manuscrits qui éclairent l’élaboration de l’œuvre elle-même.Cette thèse, par l’étude du cas schwarz-bartien, invite à interroger et repenser notre manière d’envisager l’acte d’écrire, de signer, et de percevoir la signature d’une œuvre littéraire, et suscite une réflexion plus générale sur les enjeux de la création littéraire
Translating Feminist Philosophy: A case-study with Simone de Beauvoir's 'Le Deuxième Sexe'
No full textThe relationship between languages and philosophy is so strong that French philosopher Barbara Cassin speaks of 'philosophising in languages' (Cassin 2010). This paper aims to show how translation can be a means to help disseminate philosophical ideas. It might even be called a political tool, when circulating feminist philosophical thoughts is concerned. The article uses the latest English translation of Simone de Beauvoir's Le deuxième sexe to address the pitfalls philosophy presents translators with. It also aims to defend the Interpretive Theory of Translation as a translation strategy particularly relevant to philosophy.
The novelty of the paper lies in the fact that the translation of feminist philosophy is largely underanalysed in the field of Translation Studies. Therefore, the article intend to bridge the gap between those disciplines, in order to enhance the reception of feminist philosophy.
Experimental Post-Diagnostic Multisensory Resuscitation Protocol: A complementary approach as a last resort
No full textACKNOWLEDGEMENTSI would like to express my deep gratitude to Dr. Charles Cassin, cardiologist, for agreeing to carefully review this thesis and for the quality of his scientific feedback. His analysis confirmed the internal coherence of the protocol, as well as the physiological relevance of the principle of simultaneous multisystem stimulation—somato-reflex, neuro-sensory, viscero-autonomic, and hemodynamic—applied during the very first minutes following a state of apparent death.His opinion, emphasizing that the protocol is logically structured, potentially effective, and scientifically worthy of being tested, provided strong encouragement to consider a more in-depth experimental evaluation of this approach.I also wish to thank Dr. Chadli Choukri for his careful reading and his insightful clinical perspective. As a specialist in mental states, mechanisms of consciousness, and neurovegetative regulation, his analysis helped situate this work within a broader reflection on borderline states of consciousness and neurophysiological responsiveness. He highlighted the interest of the subject while contributing to a clearer scientific framing, stressing the necessity of positioning it as:an exploratory concept,based on a theoretical model,intended for preclinical evaluation,and grounded in a testable physiological hypothesis.His remarks strengthened the methodological rigor and conceptual coherence of this work, clarifying its place within a research-oriented approach rather than an immediate clinical application.I extend my sincere thanks to both of them for their availability, intellectual rigor, and the scientific recognition they have granted to this innovative endeavor.Dédé NurcanVélizyREMERCIEMENTJe tiens à exprimer ma profonde gratitude au Docteur Charles Cassin, cardiologue, pour avoir accepté de lire attentivement ce travail de thèse et pour la qualité de son retour scientifique. Son analyse a confirmé la cohérence interne du protocole, ainsi que la pertinence physiologique du principe de stimulation multisystémique simultanée -somato-réflexe, neuro-sensorielle, viscéro-autonomique et hémodynamique -appliquée dans les toutes premières minutes suivant un état de mort apparente. Son avis, soulignant que le protocole est logiquement structuré, potentiellement efficace et scientifiquement digne d'être testé, a constitué un encouragement majeur à envisager une évaluation expérimentale plus approfondie de cette approche Je remercie également le Dr Chadli Choukri, pour sa lecture attentive et son regard clinique éclairé. En tant que spécialiste des états mentaux, des mécanismes de la conscience et de la régulation neurovégétative, son analyse a permis d'inscrire ce travail dans une réflexion plus large sur les états limites de la conscience et de la réactivité neurophysiologique. Il a souligné l'intérêt du sujet tout en contribuant à en préciser le cadre scientifique, en insistant sur la nécessité de le positionner comme : -un concept exploratoire, -fondé sur un modèle théorique, -destiné à une évaluation préclinique, -et reposant sur une hypothèse physiologique testable. Ses remarques ont renforcé la rigueur méthodologique et la cohérence conceptuelle de ce travail, en clarifiant son inscription dans une démarche de recherche et non d'application clinique immédiate. Je leur adresse à tous deux mes remerciements sincères pour leur disponibilité, leur exigence intellectuelle et la reconnaissance scientifique qu'ils ont accordée à cette démarche innovante. Dédé Nurcan Vélizy </div
AS INSEPARÁVEIS, DE SIMONE DE BEAUVOIR: POR UMA EPISTEMOLOGIA DO (NÃO) SER
No full textThis paper discusses the notions of being and not being under the sophistical perspective, which, by stating that neither being nor not being is not (DINUCCI, 2008a, 2008b; CASSIN, 2005), establishes a new way of conceiving also the individual, no longer being tied, nor his identity, to a truth or essence to be sought inside or outside himself, that is, based on the ontology of being. The discourse, as a new, unique and unrepeatable event, is responsible for the changes operated in the individual and in his identity, that is, if each new enunciation constitutes a new event, the non-being cannot be considered, from this perspective, as the instaurer of change, of individual and/or collective transformation. This theme is discussed here in the light of an autobiographical narrative, namely: The Inseparables, by Simone de Beauvoir (2021).Este artigo discute as noções de ser e não ser sob a perspectiva sofistica, que, ao afirmar que nem ser nem não ser não é (DINUCCI, 2008a, 2008b; CASSIN, 2005), instaura um novo modo de conceber também o indivíduo, não estando mais atado, nem sua identidade, a uma verdade ou essência a ser buscada dentro ou fora de si, ou seja, pautada na ontologia do ser. O discurso, como evento novo, único e irrepetível é o responsável pelas mudanças operadas no indivíduo e em sua identidade, isto é, se cada novo enunciado constitui um novo acontecimento, o não ser não pode ser considerado, dessa perspectiva, como instaurador da mudança, da transformação individual e/ou coletiva. Esse tema é aqui debatido à luz de uma narrativa autobiográfica, a saber: As inseparáveis, de Simone de Beauvoir (2021)
Benthic vegetation, chlorophyllα and physical-chemical variables in a protected zone of a Mediterranean coastal lagoon (Lesina, Italy)
No full textPhytoplankton and benthic vegetation biomass undergoes spatial-temporal changes in relation to their life cycle, but also to meteorological conditions, physical-chemical variables, organic input and internal dynamism. The main aim of this work was to observe the effect of all environmental variables on the vegetative dynamic process in a protected zone of a Mediterranean costal lagoon (Lesina lagoon, SE Italy). Seven samplings were performed from 2010 to 2012 at 30 sites for nutrient and chlorophyll analyses, while TOC measurements and wet biomass evaluation were performed at 10 sites. Temperature, salinity and oxygen saturation were also measured by multiparametric probe and a visual census for vegetation was performed. Sites close to freshwater inflow were characterized by lower temperature and salinity, and high nitrate, with maxima of 191.05 μM in May 2010 and more than 250 μM in October 2010. Silicates drastically decreased from May 2010 (87.57 μM) to July 2010 (6.15 μM) and increased again in October (74.99 μM). Chl a concentrations were not on average higher than 6 mg m−3, but peaks of 20 mg m−3 were observed during May 2011 and May 2012. Benthic vegetation wet biomass collected in 2010 was approximately twice that collected in 2012, with a maximum of 27,554 g m−2 and a dominance of macroalgae (70 % in May 2010 and 40 % in August 2010). During period 2010, a simultaneous and drastic decreasing of both mean values of wet biomass and chl a was observed from May to October 2010. During period 2012 a shift of vegetation biomass was shown from May (phytoplankton prevalence) to August 2012, with angiosperm prevalence (more than 30 %)
The Role of the Critical Coronoid Angle in Simple Elbow Dislocation: A Computed Tomography-Based Index to Stratify Elbow Dislocation Risk
No full textIntroduction: Elbow primary stability is guaranteed by the anatomical congruency between the humeral trochlea and the greater sigmoid notch (GSN). Elbow dislocation typically occurs in a semi-extended position, but computed tomography (CT) scans are typically acquired at 90 degrees of elbow flexion, which may misleadingly suggest that the apex of the coronoid aligns with the trochlear center of rotation. This study aims to evaluate the anatomical features of the coronoid and GSN in a dislocated versus non-dislocated group, demonstrating that a more prominent coronoid process is more commonly observed in elbows without dislocation compared to those with dislocation. Materials and Methods: A total of 50 CT scans, equally divided between dislocated elbows and non-dislocated elbows, were analyzed, and the critical coronoid angle (CCA) was measured on a specific slice of the CT scan (level of evidence III). The CCA was calculated from two lines that arise in the center of the GSN, with the first one crossing the coronoid tip and the second parallel to the posterior olecranon cortex. Results: A significant difference in the CCA (p < 0.001) between the two groups was highlighted. In particular, it was found that 14/25 patients from the dislocated elbow group had a CCA below or equal to 27 degrees, and all the non-dislocated subjects had a CCA >= 27 degrees. These preliminary results suggest that a CCA <= 27 degrees could be a threshold for requiring further imaging of soft tissues or closer follow-up. This may result from either a hypoplastic coronoid process or a decreased concavity of the GSN. Based on the CCA values, a logistic regression model (DAM model) was proposed to associate a coefficient of protection to the CCA, the angle of flexion during dislocation (FdD), and a parameter X, which is a factor that encompasses the contribution of soft tissues. Conclusions: A low CCA is statistically more frequent in dislocated elbows versus non-dislocated ones, creating a specific anatomical condition. The CCA should be carefully evaluated by elbow surgeons to guide patient-specific treatment. The DAM model can permit the stratification of patients eligible for further diagnostic analysis
Clinical relevance of the left brachiocephalic vein anatomy for vascular access in dialysis patients
No full textINTRODUCTION: Most hemodialysis patients start renal replacement therapy with a central venous catheter (CVC). The left internal jugular vein (LIJV) is the second-choice vein for CVC positioning, after the right IJV. However, to reach the right atrium, the CVC must pass through the left brachiocephalic vein (LBV), which also drains blood from the left arm through the subclavian vein. The purpose of this study is to describe how the anatomy of the central venous system and in particular that of the LBV affects vascular access in hemodialysis patients. MATERIALS AND METHODS: Three-dimensional (3D) virtual model reconstructions of the central thoracic veins of three hemodialysis patients were obtained from contrast-enhanced computed tomography scans acquired in the venous phase. The images were exported as DICOM files and loaded on open-source software for visualizing and analyzing the medical imaging (3D Slicer, Windows version 4.8.1). RESULTS: As expected, the 3D reconstructions showed that the LBV has a tortuous path with three main angulations that could be associated with external compression and stenosis. These could determine the difficulties and increased risks of venous injury during CVC placement, and an increased risk of medium to long-term catheter-associated vein thrombosis and stenosis. CONCLUSIONS: The anatomical features of the LBV indicate that the path of a CVC from the LIJV to the right atrium is tortuous and can easily be complicated by vein injury, negatively affecting the creation of future arterio-venous vascular accesses in the left arm
Teaching anatomy in a modern medical course: an integrated approach at Vialba Medical School in Milan
No full textIntroduction
The course of Anatomy in Vialba Medical School – University of Milan, integrates systemic, topographic and development anatomy,
dissection laboratory, peer-teaching, flipped classroom, clinical correlation to radiology and surgery.
Methods
An anonymous questionnaire based on a five-point Likert scale was submitted to 162 students who had passed the exam of Anatomy.
Students evaluated the importance given during study to morphology, relations and variations of organs, the usefulness of different tools in preparing the exam of anatomy. Finally, the impact of the new design course of Anatomy on students’ progress was assessed.
Results
The results showed that most of the students found very useful dissections, multimedia sources and 3D virtual models. 3D virtual models, dissections and physical models were indicated as the most important tools that should be available for learning Anatomy; instead, medical imaging received a low score. Students focused the study on morphology and relations between organs much more than anatomical variations. Lastly, students who followed the new design course of anatomy showed a significant better performance when compared to students of the previous academic years, in particular on the anatomy of neck, thoracic and abdominopelvic cavity, and neuroanatomy.
Conclusions
Our study underlines the positive impact of the integration of traditional methods and innovative solutions in learning anatomy, but also the critical approach to radiologic imaging and anatomical variability
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