Urological surgery and antiplatelet drugs after cardiac and cerebrovascular accidents.

PURPOSE: The perioperative treatment of patients on dual antiplatelet therapy after myocardial infarction, cerebrovascular event or coronary stent implantation represents an increasingly frequent issue for urologists and anesthesiologists. We assess the current scientific evidence and propose strategies concerning treatment of these patients. MATERIALS AND METHODS: A MEDLINE and PubMed search was conducted for articles related to antiplatelet therapy after myocardial infarction, coronary stents and cerebrovascular events, as well as the use of aspirin and/or clopidogrel in the context of surgery. RESULTS: Early discontinuation of antiplatelet therapy for secondary prevention is associated with a high risk of coronary thrombosis, which is further increased by the hypercoagulable state induced by surgery. Aspirin has recently been recommended as a lifelong therapy. Clopidogrel is mandatory for 6 weeks after myocardial infarction and bare metal stents, and for 12 months after drug-eluting stents. Surgery must be postponed beyond these waiting periods or performed with patients receiving dual antiplatelet therapy because withdrawal therapy increases 5 to 10 times the risk of postoperative myocardial infarction, stent thrombosis or death. The shorter the waiting period between revascularization and surgery the greater the risk of adverse cardiac events. The risk of surgical hemorrhage is increased approximately 20% by aspirin and 50% by clopidogrel. CONCLUSIONS: The risk of coronary thrombosis when antiplatelet agents are withdrawn before surgery is generally higher than the risk of surgical hemorrhage when antiplatelet agents are maintained. However, this issue has not yet been sufficiently evaluated in urological patients and in many instances during urological surgery the risk of bleeding can be dangerous. A thorough dialogue among surgeon, cardiologist and anesthesiologist is essential to determine all risk factors and define the best possible strategy for each patient.

From Translation to Rewriting : the Interplay of Text and Image in The Fairy Tales of Charles Perrault and The Bloody Chamber and Other Stories

Abstract :This article examines the interplay of text and image in The Fairy Tales of Charles Perrault (1977), translated by Angela Carter and illustrated by Martin Ware, as a form of intersemiotic dialogue that sheds new light on Carter's work. It argues that Ware's highly original artwork based on the translation not only calls into question the association of fairy tales with children's literature (which still characterizes Carter's translation), but also captures an essential if heretofore neglected aspect of Carter's creative process, namely the dynamics between translating, illustrating and rewriting classic tales. Several elements from Ware's illustrations are indeed taken up and elaborated on in The Bloody Chamber and Other Stories (1979), the collection of "stories about fairy stories" that made Carter famous. These include visual details and strategies that she transposed to the realm of writing, giving rise to reflections on the relation between visuality and textuality.RésuméCet article considère l'interaction du texte et de l'image dans les contes de Perrault traduits par Angela Carter et illustrés par Martin Ware (The Fairy Tales of Charles Perrault, 1977) comme une forme de dialogue intersémiotique particulièrement productif. Il démontre que les illustrations originales de Ware ne mettent pas seulement en question l'assimilation des contes à la littérature de jeunesse (qui est encore la perspective adoptée par la traductrice dans ce livre), mais permettent aussi de saisir un aspect essentiel bien que jusque là ignoré du procession de création dans l'oeuvre de Carter, à savoir la dynamique qui lie la traduction, l'illustration et la réécriture des contes classiques. Plusieurs éléments des illustrations de Ware sont ainsi repris et élaborés dans The Bloody Chamber and Other Stories (1979), la collection de "stories about fairy stories" qui rendit Carter célèbre. La transposition de détails et de stratégies visuelles dans l'écriture donnent ainsi l'occasion de réflexions sur les rapports entre la visualité et la textualité.

"La Beauté sur la terre" de Charles Ferdinand Ramuz

Ecrire, au milieu des années 1920, un éloge de la beauté, sans quitter les rives du Léman ; s'inspirer des figures et des mythes de l'Antiquité classique, mais adopter une forme de narration résolument moderne ; déjouer les attentes des amateurs de « récits romands » en exploitant un décor et des situations en apparence sans surprise : autant de gageures que Charles-Ferdinand Ramuz s'emploie à soutenir dans La Beauté sur la terre. Avec cette oeuvre atypique, l'écrivain poursuit le travail de renouvellement du genre romanesque et d'invention stylistique auquel il s'est attelé depuis ses débuts. L'histoire de Juliette, jeune Créole débarquée en terre vaudoise, devient ainsi, sous sa plume, une fable sur les rapports entre l'art et la vie, sur la difficile cohabitation de la nature et de la culture