Implante de filtro em veia cava inferior dupla: relato de caso e revisão da literatura

Veia cava inferior dupla é uma variação anatômica rara cuja prevalência é de 0,2-3%. O implante de filtro de veia cava, quando indicado em casos com duplicidade da veia cava inferior, pode ser realizado de diferentes formas: em ambas as veias cavas; em uma delas, embolizando a anastomose entre ambas; em somente uma delas; ou por implante supra-renal. Relatamos um caso de trombose venosa profunda no pós-operatório de implante de prótese de quadril com contra-indicação para tratamento anticoagulante e cuja cavografia evidenciou duplicidade de veia cava inferior. O implante de filtro de veia cava inferior realizado em posição supra-renal mostrou-se opção adequada e segura.

Laboratório remoto de qualidade da energia elétrica em ambiente virtual

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Fait divers, mito e poesia: L'échappé e Villa Aurore, de Le Clézio

Pós-graduação em Estudos Literários - FCLAR

Uma poética da dualidade: identidade e intertextualidade no teatro de José Régio

Pós-graduação em Estudos Literários - FCLAR

Artimanhas do texto: a metatextualidade na ficção de Rubem Fonseca

Pós-graduação em Estudos Literários - FCLAR

Ambiente data cleaning: suporte extensível, semântico e automático para análise e transformação de dados

Pós-graduação em Ciência da Computação - IBILCE

Villa Aurore, de J.-M Gustave Le Clézio: duplicações literárias

Le conte “Villa Aurore” montre bien la mobilité et la duplicité qui caractérisent l’oeuvre de Le Clézio: en même temps que le titre de cet ouvrage, La ronde et autres faits divers, annonce la représentation de la réalité à partir des faits divers, la présence du mythe donne au récit un fort potentiel poétique, qui peut être constaté surtout dans le lyrisme du langage et dans les procédés poétiques que l’auteur utilise dans la création de ses récits. Tel que dans d’autres textes de La ronde et autres faits divers, le conte “Villa Aurore” montre la force d’un récit réaliste, attaché à la banalité quotidienne, mais qui se tourne vers le mythe, en configurant une structure circulaire, dont relève le doublement des catégories narratives du temps, de l'espace et du narrateur. Ainsi, ce travail a l’objectif de montrer comment les représentations du narrateur, du temps et de l’espace, doublées et opposées, contribuent-elles à déterminer cette structure et aussi comment semblent-elles converger pour l’expression du désir de l’évocation d’une quête sur les origines dans le corpus étudié

Um jogo de mapas ou sobre engano geográfico de Marília Garcia

This essay aims to analyze the book Engano geográfico Marília Garcia, published in 2012. It is a long narrative poem that recounts a trip through Spanish and French landscapes, and which allows to question various shifts of the poetic voice. One of them, marked by the duplicity between geographic and poetic journey which I could characterize as a be­ 76 Revista semestral do Programa de Pós-Graduação em Letras – UFES tween-place given by the sign of waiting. A second, through a dialogical instance that allows a process of depoetization of the language with its permeability to other voices. Finally, through the presence of several pronouns “I”, “he”, “she”, “you”, without explicit textual reference, and that would indicate a kind of closeness of the loving attention.

E. T. A. Hoffmann e Jacques Callot: a ficção da imagem

Hoffmann wrote several fairy tales, including "Princess Brambilla" (1821), which has an remarkable pictorial component: when it was published, the text went along with eight illustrations by Carl Friedrich Thiele, which were derived from original prints made by the Frenchman Jacques Callot. While Callot images portray the Italian theater of the Commedia dell'Arte, Thiele's works follow the plot of the narrative, representing the characters of Hoffmann, who disguise themselves because of the carnival that is taking place in Rome. The costumes and masks worn by the characters however do not ensure them full secrecy. Instead of a complete undercover, they lead to double meanings and double identities so that narrative levels and artistic references overlap and create an effect similar to a set of a polyphonic orchestra (which is a metaphor implied in the very subtitle, where the narrative is called a Capriccio).

Memorial do fim: as várias faces de Machado de Assis

Este artículo se centra en el análisis de la novela Memorial do fim: a morte de Machado de Assis (1991), de Haroldo Maranhão. Basándose en las formulaciones teóricas de Linda Hutcheon en su Poética del postmodernismo (1991), analizamos la reelaboración paródica de la biografía de Machado de Assis presente en la novela. Esta práctica paródica, que se caracteriza por su dualidad contradictoria de la continuidad y la transgresión, es la principal característica de la narrativa posmoderna en esta novela de Haroldo Maranhão.

A compreensão da definição freudiana do conceito de pulsão sexual para a compreensão do conceito de sexualidade humana

This article approaches the definition of sexual drive proposed by Freud in the Three Essays and how the psychoanalytic conception of human sexuality has been theoretically presented from this first exposition: both as a construct of the species and as an individual construct. It seeks to show how the very metapsychological definition of drive (Trieb) – in 1905 and also in Freud’s 1915 Instincts and their Vicissitudes – interlaced biological contributions and the psychoanalytic clinic in the formulation of an original concept of the human sexuality. The paper also discusses how, because of this duplicity, there is sometimes a developmental interpretation of sexuality in the Three Essays. In the first two of the Three essays, Freud tried to expand the possibilities of sexual behavior, analyzing the drives in the diversity of perversions and in children’s sexuality, while in the third essay the focus was on the adult sexual drive from the moment it organizes itself around an object (hence being no longer auto-erotic) and the reproduction function. Certain experts have occasionally questioned whether the 1905 article attributed a biological teleology to the human sexuality by assigning reproduction as the eventual purpose of the sexual drive – that is, a reproductive goal achieved through the sexual intercourse (coitus). Our study seeks to show how the physiological point of view proposed by Freud in his 1915 article on Instincts sheds some light on how the very biological origin of the drives denies this supposed exclusive reproductive purpose of sexuality. The duplicity of Freud’s concept of drive – as expressed in the enigmatic sentence where he states that this is a concept situated on the border between the psychical and the physical – is then discussed taking into account this intercrossing between the biological and the psychical presented in the Three Essays. The points of view proposed by Freud in 1915 for the definition of the concept of drive – the physiological and the biological points of view – are suggested as conceptual tools to the understanding of this twofold character of human sexuality, according to psychoanalysis.