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Performance of ElastPQ shear wave elastography technique for assessing fibrosis in chronic viral hepatitis
No full textAccuracy of real-time shear wave elastography for assessing liver fibrosis in chronic hepatitis C: a pilot study
No full textReal-time shear wave elastography (SWE) is a novel, noninvasive method to assess liver fibrosis by measuring liver stiffness. This single center study was conducted to assess the accuracy of SWE in patients with chronic hepatitis C in comparison with transient elastography (TE) by using liver biopsy (LB) as the reference standard.
Consecutive patients with chronic hepatitis C scheduled for liver biopsy by referring physicians were studied. One hundred twenty-one patients met inclusion criteria. On the same day real-time SWE using the ultrasound system AixplorerTM (SuperSonic Imagine S.A., Aix-en-Provence, France), TE using FibroScanTM (Echosens, Paris, France) and ultrasound-assisted LB were consecutively performed. Fibrosis was staged according to METAVIR scoring system. Analyses of receiver operating characteristic curve were performed to calculate optimal area under the curve (AUROC) for F0-F1 versus F2-F4, F0- F2 versus F3-F4, and F0-F3 versus F4 for both real-time SWE and TE.
Liver stiffness values increased in parallel with the degree of liver fibrosis both with SWE and TE. AUROCs were 0.92 (95%CI,0.85-0.96) for SWE and 0.84 (95%CI,0.76-0.90) for TE (p=0.002); 0.98(95%CI,0.94-1.00) for SWE and 0.96 (95%CI,0.90-0.99) for TE (p=0.14); 0.98(95%CI,0.93-1.00) for SWE and 0.96 (95%CI,0.91-0.99) for TE (p=0.48) when comparing F0-F1 versus F2- F4; F0- F2 versus F3-F4; and F0 -F3 versus F4 respectively.
Conclusion. The results of this study show that real-time SWE is more accurate than TE in assessing significant fibrosis (F>2). With respect to TE, SWE has the advantage of imaging liver stiffness in real-time, while guided by a B-mode image. Thus, the region of measurement can be guided with both anatomical and tissue stiffness information
Reproducibility of controlled attenuation parameter (CAP) for the assessment of liver steatosis
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
Accuracy of a new real-time shear wave elastography technique in the assessment of significant liver fibrosis: preliminary results
No full textVariations 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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