scholarly journals A comparative study of Centchroman, Tamoxifen and Danazol in management of cyclical mastalgia

2019 ◽  
Vol 6 (2) ◽  
pp. 365
Author(s):  
Probal Neogi ◽  
Soumitra Manwatkar ◽  
Santosh Kumar Singh ◽  
Anish Kola ◽  
Qazi Imran ◽  
...  
Keyword(s):  
Pain Relief ◽  
Drug Treatment ◽  
Comparative Study ◽  
Visual Analogue Score ◽  
Tamoxifen Group ◽  
Topical Analgesics ◽  
Lifestyle Measures ◽  
History Of ◽  
Pre Treatment ◽  
Cyclical Mastalgia

Background: Mastalgia is a common problem and 60-70% women encounter it at least once in their lifetime. Many drugs have been used and are been used with varying response, like Tamoxifen, Danazol, primrose oil, topical analgesics and recently Centchroman. The objective of the present study was to compare the three most commonly used drugs in the treatment of mastalgia, namely Centchroman, Tamoxifen and Danazol with a placebo.Methods: All consecutive female patients more than 25 years of age with history of mastalgia for more than 3 months were taken up for the study. Patients were distributed into four groups and administered Centchroman, danazol, tamoxifen and placebo, respectively.Results: In present study of 78 patients, the median visual analogue score (VAS) in Centchroman group were 3, 1 and 3 after treatment of 4, 12 and 24 weeks, respectively with a pre-treatment VAS of 8. Similarly, in the danazol group, VAS at 4, 12 and 24 weeks were 4, 1.5 and 5, respectively. In the Tamoxifen group it was 4, 1 and 3 after treatment for 4, 12 and 24 weeks. On comparison, Centchroman and Tamoxifen both had better pain relief than danazol at 24 weeks (p <0.001) while Centchroman and Tamoxifen had comparable results (p >0.05) despite Centchroman having a lower mean VAS score.Conclusions: Mild cyclical mastalgia can be treated with reassurance and lifestyle measures. Moderate to severe mastalgia usually require drug treatment. Centchroman, Danazol and Tamoxifen are effective. Centchroman appears to have better pain relief relative to the rest.

Ancient Revolutions in the Literature of Polish Romanticism

2018 ◽  
Vol 15 (2) ◽  
pp. 207-226
Author(s):  
Maciej Junkiert
Keyword(s):  
Comparative Study ◽  
Classical Tradition ◽  
French Revolution ◽  
European Context ◽  
History Of ◽  
Classical Traditions ◽  
The French Revolution ◽  
Literary Reception

This article aims to examine the Polish literary reception of the French Revolution during the period of Romanticism. Its main focus is on how Polish writers displaced their more immediate experiences of revolutionary events onto a backdrop of ‘ancient revolutions’, in which revolution was described indirectly by drawing on classical traditions, particularly the history of ancient Greeks and Romans. As this classical tradition was mediated by key works of German and French thinkers, this European context is crucial for understanding the literary strategies adopted by Polish authors. Three main approaches are visible in the Polish reception, and I will illustrate them using the works of Zygmunt Krasiński (1812–1859), Juliusz Słowacki (1809–1849) and Cyprian Norwid (1821–1883). My comparative study will be restricted to four works: Krasiński's Irydion and Przedświt (Predawn), Słowacki's Agezylausz (Agesilaus) and Norwid's Quidam.

Introduction

2018 ◽  
Author(s):  
Marko Geslani
Keyword(s):  
Comparative Study ◽  
Royal Power ◽  
History Of ◽  
Historical Developments ◽  
The Comparative Study ◽  
The Relationship ◽  
Over Time ◽  
Indian Religion

The introduction reviews the historiographic problem of the relation between fire sacrifice (yajña) and image worship (pūjā), which have traditionally been seen as opposing ritual structures serving to undergird the distinction of “Vedic” and “Hindu.” Against such an icono- and theocentric approach, it proposes a history of the priesthood in relation to royal power, centering on the relationship between the royal chaplain (purohita) and astrologer (sāṃvatsara) as a crucial, unexplored development in early Indian religion. In order to capture these historical developments, it outlines a method for the comparative study of ritual forms over time.

scholarly journals The Psychoprophylactic Method of Painless Childbirth in Socialist Czechoslovakia: from State Propaganda to Activism of Enthusiasts

2016 ◽  
Vol 60 (4) ◽  
pp. 534-556 ◽  
Author(s):  
Ema Hrešanová
Keyword(s):  
Pain Relief ◽  
Scientific Method ◽  
Communist Regime ◽  
The West ◽  
Medical Journals ◽  
History Of ◽  
English Speaking ◽  
The 1960S ◽  
Pharmacological Method ◽  
Insight Into

This paper explores the history of the ‘psychoprophylactic method of painless childbirth’ in socialist Czechoslovakia, in particular, in the Czech and Moravian regions of the country, showing that it substantially differs from the course that the method took in other countries. This non-pharmacological method of pain relief originated in the USSR and became well known as the Lamaze method in western English-speaking countries. Use of the method in Czechoslovakia, however, followed a very different path from both the West, where its use was refined mainly outside the biomedical frame, and the USSR, where it ceased to be pursued as a scientific method in the 1950s after Stalin’s death. The method was imported to Czechoslovakia in the early 1950s and it was politically promoted as Soviet science’s gift to women. In the 1960s the method became widespread in practice but research on it diminished and, in the 1970s, its use declined too. However, in the 1980s, in the last decade of the Communist regime, the method resurfaced in the pages of Czechoslovak medical journals and underwent an exciting renaissance, having been reintroduced by a few enthusiastic individuals, most of them women. This article explores the background to the renewed interest in the method while providing insight into the wider social and political context that shaped socialist maternity and birth care in different periods.

Le fonti, i metodi e le narrazioni della storia della videoarte in Italia negli anni Settanta

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Lisa Parola
Keyword(s):  
Comparative Study ◽  
Contemporary Art ◽  
Narrative Structure ◽  
Video Art ◽  
Wide Range ◽  
History Of ◽  
Selection For ◽  
The Many ◽  
Art And Architecture ◽  
Selection Of

This essay derives from the primary need to make order between direct and indirect sources available for the reconstruction of the history of video art in Italy in the seventies. In fact, during the researches for the Ph.D. thesis it became clear that in most cases it is difficult to define, in terms of facts, which of the different historiographies should be taken into consideration to deepen the study of video art in Italy. Beyond legitimate differences of perspectives and methods, historiographical narratives all share similar issues and narrative structure. The first intention of the essay is, therefore, to compare the different historiographic narratives on Italian video art of the seventies, verifying their genealogy, the sources used and the accuracy of the narrated facts. For the selection of the corpus, it was decided to analyze in particular monographic volumes dealing with the history of the origins of video art in Italy. The aim was, in fact, to get a wide range of types of "narrations", as in the case of contemporary art and architecture magazines, which are examined in the second part of the essay. After the selection, for an analytical and comparative study of the various historiography, the essay focuses only on the Terza Biennale Internazionale della Giovane Pittura. Gennaio ’70. Comportamenti, oggetti e mediazioni (Third International Biennial of Young Painting. January '70. Behaviors, Objects and Mediations, 1970, Bologna), the exhibition which - after Lucio Fontana's pioneering experiments - is said to be the first sign of the arrival of videotape in Italy (called at the time videorecording), curated by Renato Barilli, Tommaso Trini, Andrea Emiliani and Maurizio Calvesi. The narration given so far of this exhibition appeared more mythological than historical and could be compared structurally to that of the many numerous beginnings that historiographyies on international video art identify as ‘first’ and ‘generative’. In the first part of the essay the 'facts' related to Gennaio ’70, as narrated by historiography on video art, are compared. In the second part the survey is carried out through some of the direct sources identified during the research, with the aim of answering to questions raised by the comparison between historiographies. Concluding, it is important to underline that the tapes containing the videos transmitted have not been found and seem to have disappeared since the ending of the exhibition. Nevertheless, the deepening of the works and documentation transmitted during the exhibition is possible thanks to other types of sources which give us many valuable information regarding video techniques and practices at the beginning of 1970 in Italy.

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