scholarly journals RHINOPLASTY OF POSTTRAUMATIC NOSE INJURIES

2021 ◽  
Author(s):  
E.Sh. Boliev ◽  
◽  
Sh.A. Makhamadaminova ◽  
Keyword(s):  
Significant Proportion ◽  
The Third ◽  
Nasal Bones ◽  
Results Of Treatment ◽  
External Nose ◽  
Facial Skull ◽  
The Social ◽  
Post Traumatic ◽  
The Aesthetic ◽  
Social Importance

The aesthetic and functional significance of the external nose gives particular relevance to the treatment of its injuries. The social importance of the problem is caused by the widespread prevalence of nasoseptal injuries, the frequency of development ofserious post-traumatic disorders of the appearance and normal physiology of patients, and unsatisfactory results of treatment of this pathology. The pyramid of the nose is the most vulnerable and fragile part of the facial skull, therefore, fractures of the nasal bones constitute a significant proportion of all injuries of the musculoskeletal system and occupy the third place among the total number of fractures of the human skeleton, are the most common among emergency conditions of ENT organs. In the general population, patients with this pathology account for up to 0.021%.

Remediating the Underground

2019 ◽  
pp. 85-118
Author(s):  
Micah E. Salkind
Keyword(s):  
Middle Class ◽  
Oral History ◽  
The Third ◽  
The Social ◽  
Queer Of Color ◽  
The Aesthetic ◽  
House Music ◽  
Radio Programs ◽  
Oral History Interviews ◽  
Black Radio

The third chapter of Do You Remember House? traces the routes by which mostly straight, Black, and middle-class teenagers accessed and adapted the social and sonic templates developed by house music’s queer of color progenitors. Using close readings of radio “hot mixes” and oral history interviews with DJs, promoters, and dancers involved in the city’s all-ages “juice bar” scene, this chapter also suggests that house music radio was made by an emergent cohort of middle-class, Black, radio entrepreneurs who remediated Chicago musical repertoires for increasingly heterogeneous listening publics. The term remediation (Bolter & Grusin, 1999) helps account for the ways that the WBMX and WGCI hot mix shows incorporated and transformed the aesthetic priorities of teen juice bars, gay discotheques, and Black appeal radio programs to promote house music as a shared, if often contested, soundscape in greater Chicagoland.

scholarly journals Media hysteresis

2017 ◽  
pp. 8-23
Author(s):  
Philippe Theophanidis ◽  
Ghislain Thibault
Keyword(s):  
Social Sciences ◽  
Digital Media ◽  
Late Nineteenth Century ◽  
Technological Changes ◽  
Push Button ◽  
The Third ◽  
The Social ◽  
Contemporary Media ◽  
The Aesthetic ◽  
Theoretical Overview

For media scholars, locating the old in the new helps to debunk the inflation around the “newness” of contemporary media. Several approaches have been put to work in the exploration of these multiple temporalities within media: remediation, media revival, residual media, media archeology. In this article, we explore another temporal concept—hysteresis—as a way to think through the folding of time within and across media. The first part of the article presents a theoretical overview of the concept of hysteresis, from the field of experimental sciences in the late nineteenth century to Marx, Bourdieu, Baudrillard and others in the social sciences. In the second part, we introduce the concept of “media hysteresis” and illustrate it with two examples: the design of the keypad by Bell System’s push-button phones and the QWERTY keyboard. In the third and final part, we weave the concept of media hysteresis through a discussion of some of the major changes in cinema. More specifically, we examine how the aesthetic of the analogue persists in digital media and how media hysteresis can be useful to apprehend the celluloid revival. Our main argument throughout the article is the need for a theory of asynchronous simultaneity to analyse persistence and continuity across technological changes.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Presentation

2014 ◽  
Vol 2 (3) ◽  
Author(s):  
Redacción CEIICH
Keyword(s):  
Cultural History ◽  
Social Reality ◽  
Point Of View ◽  
The Body ◽  
Literary Studies ◽  
The Third ◽  
The Social ◽  
Feminist Theories ◽  
History Of

<p class="p1">The third number of <span class="s1"><strong>INTER</strong></span><span class="s2"><strong>disciplina </strong></span>underscores this generic reference of <em>Bodies </em>as an approach to a key issue in the understanding of social reality from a humanistic perspective, and to understand, from the social point of view, the contributions of the research in philosophy of the body, cultural history of the anatomy, as well as the approximations queer, feminist theories and the psychoanalytical, and literary studies.</p>

Introduction

2018 ◽  
Author(s):  
Tim Lewens
Keyword(s):  
Social Sciences ◽  
Human Nature ◽  
Potential Functions ◽  
Human Psychology ◽  
Human Culture ◽  
The Third ◽  
Current State ◽  
Large Numbers ◽  
The Social ◽  
Compare And Contrast

Many evolutionary theorists have enthusiastically embraced human nature, but large numbers of evolutionists have also rejected it. It is also important to recognize the nuanced views on human nature that come from the side of the social sciences. This introduction provides an overview of the current state of the human nature debate, from the anti-essentialist consensus to the possibility of a Gray’s Anatomy of human psychology. Three potential functions for the notion of species nature are identified. The first is diagnostic, assigning an organism to the correct species. The second is species-comparative, allowing us to compare and contrast different species. The third function is contrastive, establishing human nature as a foil for human culture. The Introduction concludes with a brief synopsis of each chapter.

Music in the British Workplace: From Voice to a Technique of Control?

2020 ◽  
Author(s):  
Marek Korczynski
Keyword(s):  
Twentieth Century ◽  
Social Control ◽  
Social History ◽  
Singing Voice ◽  
Industrial Noise ◽  
The Third ◽  
The Social ◽  
History Of

This chapter examines music in the British workplace. It considers whether it is appropriate to see the history of music in the workplace as involving a journey from the organic singing voice (both literal and metaphorical) of workers to broadcast music appropriated by the powerful to become a technique of social control. The chapter charts four key stages in the social history of music in British workplaces. First, it highlights the existence of widespread cultures of singing at work prior to industrialization, and outlines the important meanings these cultures had for workers. Next, it outlines the silencing of the singing voice within the workplace further to industrialization—either from direct employer bans on singing, or from the roar of the industrial noise. The third key stage involves the carefully controlled employer- and state-led reintroduction of music in the workplace in the mid-twentieth century—through the centralized relaying of specific forms of music via broadcast systems in workplaces. The chapter ends with an examination of contemporary musicking in relation to (often worker-led) radio music played in workplaces.

scholarly journals AB0267 HOW EFFECTIVE IS PAIN MANAGEMENT IN THE PATIENTS’ OPINION? DATA FROM THE COMPAS STUDY

2021 ◽  
Vol 80 (Suppl 1) ◽  
pp. 1160.1-1160
Author(s):  
E. Pogozheva ◽  
A. Karateev ◽  
V. Amirdzhanova
Keyword(s):  
Pain Management ◽  
Pain Therapy ◽  
Significant Proportion ◽  
Connective Tissue Diseases ◽  
Underlying Disease ◽  
Additional Treatment ◽  
Results Of Treatment ◽  
Analgesic Therapy ◽  
Folk Remedies ◽  
Personalized Approach

Objectives:to evaluate the effectiveness and satisfaction of pain management in patients with rheumatic diseases (RD) according to a survey in the COMPAS (Quality of Pain Management according to Patients with Arthritis and Back pain) study.Methods:the survey involved 1040 patients with RD (rheumatoid arthritis-40.6%, osteoarthritis -32.1%, spondyloarthritis-10.6%, connective tissue diseases-8.6% of patients). 76.8% were women, the mean age was 55.8±14.0 years. 35.7% of patients continued to work in their specialty, 31.6% had various degrees of disability. The effectiveness of pain therapy was evaluated by the patient in the last month preceding the survey on a 5-point scale, where 1 - no effect and 5-excellent effect. Patients ‘ satisfaction with treatment, possible reasons for the lack of effectiveness of pain therapy and the use of additional treatment tools were also evaluated.Results:as therapy for the underlying disease, 40% of patients received conventional disease modifying antirheumatic drugs, 33.1% - glucocorticoids, 7.2% - biological agents and 15.2% - symptomatic slow-acting drugs in osteoarthritis. At the same time, 68% of patients needed additional analgesic therapy with nonsteroidal anti-inflammatory drugs (NSAIDs). Slightly less than half of the surveyed patients (46.9%) noted a moderate effect of analgesic therapy, 22.7% - a low effect and 5% - no effect, 23.7% rated the effectiveness of therapy as good and only 1.7% - as excellent. At the same time, only 15.6% of patients were completely satisfied with the result of NSAIDs, 64% were partially satisfied with the treatment and 20.4% were completely dissatisfied. As the reason of insufficient effectiveness of NSAIDs, most often (34.3%) patients named fear of adverse events associated with taking drugs, 19.4% - weak drugs, 15.3% - insufficient attention of doctors to complaints, 6.6% - poor diagnosis of the causes of pain. Others found it difficult to answer or were completely satisfied with the treatment. 40% of patients used additional methods, most often chiropractic (12.3%), acupuncture (4.8%), physiotherapy (12.7%) and folk remedies (7.4%).Conclusion:A significant proportion of patients with RD don’t have adequate pain control. Only 25.4% of patients rate the result of treatment as good and excellent, and even fewer patients (15.6%) are completely satisfied with the results of therapy. Thus, a personalized approach to analgesic therapy is necessary, taking into account the expectations of patients regarding the results of treatment.Disclosure of Interests:None declared

Pricing of Connected and Autonomous Vehicles in Mixed-Traffic Networks

2021 ◽  
pp. 036119812098585
Author(s):  
Paolo Delle Site
Keyword(s):  
Autonomous Vehicles ◽  
Marginal Cost ◽  
User Behavior ◽  
Social Planner ◽  
Traffic Networks ◽  
Mixed Traffic ◽  
The Third ◽  
First Case ◽  
Marginal Cost Pricing ◽  
The Social

For networks with human-driven vehicles (HDVs) only, pricing with arc-specific tolls has been proposed to achieve minimization of travel times in a decentralized way. However, the policy is hardly feasible from a technical viewpoint without connectivity. Therefore, for networks with mixed traffic of HDVs and connected and autonomous vehicles (CAVs), this paper considers pricing in a scenario where only CAVs are charged. In contrast to HDVs, CAVs can be managed as individual vehicles or as a fleet. In the latter case, CAVs can be routed to minimize the travel time of the fleet of CAVs or that of the entire fleet of HDVs and CAVs. We have a selfish user behavior in the first case, a private monopolist behavior in the second, a social planner behavior in the third. Pricing achieves in a decentralized way the social planner optimum. Tolls are not unique and can take both positive and negative values. Marginal cost pricing is one solution. The valid toll set is provided, and tolls are then computed according to two schemes: one with positive tolls only and minimum toll expenditure, and one with both tolls and subsidies and zero net expenditure. Convergent algorithms are used for the mixed-behavior equilibrium (simplicial decomposition algorithm) and toll determination (cutting plane algorithm). The computational experience with three networks: a two-arc network representative of the classic town bypass case, the Nguyen-Dupuis network, and the Anaheim network, provides useful policy insight.

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