[Blood flow assessment with magnetic resonance imaging after 1.9 μm diode laser assisted arterial micronastomoses]

The most important factor for successful free-flap transfer and replantations is a well-executed anastomosis. The aim of this study is to assess blood flow after laser assisted arterial microanastomosis (LAMA) using a 1.9 μm diode laser.

[Historical review and future orientations of the conventional vascular microanastomoses]

Microvascular surgery has become an important method for reconstructing surgical defects due to trauma, tumors or after burn. The most important factor for successful free flap transfer is a well-executed anastomosis. The time needed to perform the anastomosis and the failure rate are not negligible despite the high level of operator's experience. During the history, many alternatives were tried to help the microsurgeon and to reduce the complications. A Medline literature search was performed to find articles dealing with non-suture methods of microvascular anastomosis. Many historical books were also included. The non-suture techniques can be divided into four groups based on the used mechanism of sutures: double intubation including tubes and stents, intubation-eversion including simple rings, double eversion including staples and double rings, and wall adjustement with adhesives or laser. All these techniques were able to produce a faster and easier microvascular anastomosis. Nevertheless, disadvantages of the suturless techniques include toxicity, high cost, leakage or aneurysm formation. More refinement is needed before their widespread adoption. Thus, laser-assisted microvascular anastomosis using 1,9 μm diode laser appeared to be a safe and reliable help for the microsurgeon and may be further developed in the near future.

Das Werk als Feige und als Figur. Ambivalenzen der Rezeption zwischen Valéry, Mallarmé, "Tel Quel" und Francis Ponge

L’œuvre poétique de Valéry est caractérisée par une esthétique de la perfection, de la pureté et de la clôture. La série ouverte et hétérogène des "Cahiers", en revanche, ne se laisse guère ranger dans la catégorie de l’œuvre. Selon Valéry, la réorientation intellectuelle à la base de cette opposition est due au "choc" subi par la découverte de l’œuvre mallarméenne. Les divers écrits valéryens sur Mallarmé nous servent à reconstruire cette relation ambivalente et nous aident à éclairer sa conception non moins ambivalente de l’œuvre d’art. Nous soutenons que ce ne sont pas ses propres travaux, mais les poésies de Mallarmé qui lui semblaient des œuvres achevées à proprement parler. Pour décrire l’expérience de perfection et d’achèvement que lui fournit la lecture du "Coup de dés", Valéry se sert de la notion de figure qui, entre autres, comporte des associations géométriques. Sous la forme d’un hommage ambivalent, Francis Ponge oppose aux concepts valéryens de figure et d’œuvre d’art une poétique de l’objet matériel et concret qui s’incarne dans "La figue (sèche)", publiée en 1960 comme pièce inaugurale de la revue "Tel Quel".