How can we teach EBM in clinical practice? : an analysis of barriers to implementation of on-the-job EBM teaching and learning.

Introduction: Evidence-based medicine (EBM) improves the quality of health care. Courses on how to teach EBM in practice are available, but knowledge does not automatically imply its application in teaching. We aimed to identify and compare barriers and facilitators for teaching EBM in clinical practice in various European countries. Methods: A questionnaire was constructed listing potential barriers and facilitators for EBM teaching in clinical practice. Answers were reported on a 7-point Likert scale ranging from not at all being a barrier to being an insurmountable barrier. Results: The questionnaire was completed by 120 clinical EBM teachers from 11 countries. Lack of time was the strongest barrier for teaching EBM in practice (median 5). Moderate barriers were the lack of requirements for EBM skills and a pyramid hierarchy in health care management structure (median 4). In Germany, Hungary and Poland, reading and understanding articles in English was a higher barrier than in the other countries. Conclusion: Incorporation of teaching EBM in practice faces several barriers to implementation. Teaching EBM in clinical settings is most successful where EBM principles are culturally embedded and form part and parcel of everyday clinical decisions and medical practice.

Doré et le cinéma

Selon Ray Harryhausen, maître des effets spéciaux cinématographiques, « Gustave Doré aurait été un grand chef opérateur [...] il regardait les choses avec le point de vue de la caméra ». L'oeuvre de Doré a marqué de manière indélébile l'imaginaire filmique depuis ses origines. Et le cinéma, en retour, a « gravé » Doré dans l'imaginaire du XXe siècle. Peu de films sur la Bible, depuis la Vie et Passion de Jésus Christ produit par Pathé en 1902, qui ne se réfèrent à ses illustrations, ni d'adaptation cinématographique de Dante ou encore de Don Quichotte qui ne l'aient pris comme modèle, de Georg Wilhelm Pabst et Orson Welles à Terry Gilliam. Il n'est pas de films sur la vie londonienne et victorienne qui n'empruntent leurs décors aux visions de Londres, un pèlerinage, qu'il s'agisse de David Lean, de Roman Polanski ou de Tim Burton. Nombre de scènes oniriques, fantastiques, fantasmagoriques ont puisé dans l'oeuvre graphique de Doré, depuis le Voyage dans la lune de Georges Méliès en 1902. Si dans le domaine du dessin animé ou de l'animation, la dette de Walt Disney envers Doré est immense, ses forêts « primitives », notamment celles d'Atala, ont aussi servi aux différentes versions de King Kong, de l'original de 1933 au film de 2005 de Peter Jackson qui s'était déjà appuyé sur l'oeuvre de Doré dans Le Seigneur des anneaux. Ce chapitre vise à saisir l'étendue et la signification de cette imprégnation de l'imaginaire de Doré dans la culture de masse, de la dette explicite de Jean Cocteau envers les illustrations des Contes de Perrault dans La Belle et la bête (1945) aux réminiscences doréennes du personnage de Chewbacca dans la Guerre des Etoiles ou de la saga d'Harry Potter.

Cinema and the Work of Doré

According to Ray Harryhausen, a special effects expert in the film industry, "Gustave Doré would have made a great director of photography . . . He saw things from the point of view of the camera." Doré's work has had a permanent impact on the imaginative realm of film since its very early days. In return, the silver screen has etched Doré into the 20th century imagination. Almost every film about the Bible since The Life and Passion of Jesus Christ produced by Pathé in 1902 refers to his illustrations, and every film adaptation of Dante or Don Quixote has used him as a model, from Georg Wilhelm Pabst and Orson Welles to Terry Gilliam. All films dealing with life in London in the Victorian era by directors ranging from David Lean, to Roman Polanski and Tim Burton draw on the visions in London: a pilgrimage for their sets. A large number of dream fantastical or phantasmagorical scenes take their inspiration from Doré's graphic world, beginning with Georges Méliès' A Trip to the Moon in 1902. In the realm of cartoons and animation, Walt Disney owes a huge debt to Doré. Doré primal forests, from Atala in particular, were also used in the various versions of King Kong from 1933 to the 2005 film by Peter Jackson, who had already drawn on Doré for The Lord of the Rings. Jean Cocteau was also indebted to the illustrations for Perrault's Fairy Tales for his Beauty and the Beast (1945), as was George Lucas for the character Chewbacca in Star Wars (1977) and even the Harry Potter film series. Through his influence on film history, Doré shaped the mass culture imagination.

The hemodynamics of septic shock: a historical perspective.

In the late 19th century, it was already known that severe infections could be associated with cardiovascular collapse, a fact essentially attributed to cardiac failure. A major experimental work in the rabbit, published by Romberg and Pässler in 1899, shifted attention to disturbed peripheral vascular tone as the mechanism of hypotension in these conditions. In the first half of the 20th century, great progresses were made in the pathophysiologic understanding of hemorrhagic and traumatic shocks, while researchers devoted relatively little attention to septic shock. Progress in the hemodynamic understanding of septic shock resumed with the advent of critical care units. The hyperdynamic state was recognized in the late fifties and early sixties. The present short review ends with landmark studies by Max Harry Weil, demonstrating the importance of venous pooling, and John H. Siegel, which introduced the concept of deficient peripheral utilization of oxygen, inspiring later work on the microvascular disturbances of septic shock.