Don d’ovocytes :synchronisation et cycles différés: expérience de la clinique de fertilité de l’hôpital Erasme (Belgique)

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Serum levels of anti-müllerian hormone in normo-ovulatory women during menstrual cycle: a prospective study

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Significant variations of Anti-Müllerian hormone serum levels during pregnancy and during oral contraception

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Evaluation of the quality of the management of cancer of the corpus uteri-Selection of relevant quality indicators and implementation in Belgium

Objective Describe the methodology and selection of quality indicators (QI) to be implemented in the EFFECT (EFFectiveness of Endometrial Cancer Treatment) project. EFFECT aims to monitor the variability in Quality of Care (QoC) of uterine cancer in Belgium, to compare the effectiveness of different treatment strategies to improve the QoC and to check the internal validity of the QI to validate the impact of process indicators on outcome. Methods A QI list was retrieved from literature, recent guidelines and QI databases. The Belgian Healthcare Knowledge Center methodology was used for the selection process and involved an expert's panel rating the QI on 4 criteria. The resulting scores and further discussion resulted in a final QI list. An online EFFECT module was developed by the Belgian Cancer Registry including the list of variables required for measuring the QI. Three test phases were performed to evaluate the relevance, feasibility and understanding of the variables and to test the compatibility of the dataset. Results 138 QI were considered for further discussion and 82 QI were eligible for rating. Based on the rating scores and consensus among the expert's panel, 41 QI were considered measurable and relevant. Testing of the data collection enabled optimization of the content and the user-friendliness of the dataset and online module. Conclusions This first Belgian initiative for monitoring the QoC of uterine cancer indicates that the previously used QI selection methodology is reproducible for uterine cancer. The QI list could be applied by other research groups for comparison. © 2013 Elsevier Inc.

Les complications liées à la fécondation in vitro: données sur 6 ans

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Médical complications of IVF

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Elective double transfer significantly reduce the risk of multiple pregnancy preserving the chances of pregnancy

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The impact of the Implantation of ICSI in the assited reproductive Technology

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Will ICSI overthrow IVF in all cases of male infertility ?

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Is intracytoplasmic sperm injection (ICSI) a safe procedure: What do we learn first trimester data in ICSI pregnancies ?

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Technical improvements possibly linked to higher success rate with intracytoplasmic single sperm injection

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Comparison of ICSI and IVF pregnancies outcome

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Giovanni Battista Montano as Architectural Draughtsman: Recording the Past and Designing the Future

Giovanni Battista Montano (1534-1621), who was born in Milan and trained as a woodcarver, relocated permanently to Rome in the early 1570s where his interest in sculpting was replaced by intense study of the city’s antique monuments and ruins. Although Montano carried out several sculptural and architectural projects during his time in Rome, it is his surviving corpus of drawings that testifies to his passion of exploring ancient architecture through the medium of drawing. While Montano was not famous during his lifetime, a large body of his intriguing designs became celebrated and widely circulated after his death thanks to the 1624 publication of Montano’s designs by his loyal pupil, Giovanni Battista Soria. Montano’s lifelong work differs from virtually all of his predecessors and contemporaries in its “fantastical” and ornamental nature. This thesis explores Montano’s artistic training as it relates to his later interest in imaginatively reconstructing antique buildings, along with his disregard for archaeological or historical accuracy. The subject matter upon which Montano focused is discussed, along with his objective in creating a large corpus of half-historical, half-invented drawings. His drawing techniques are explored with specific reference to the largest group of extant Montano drawings, today housed in Sir John Soane’s Museum, London, England, and also in reference to three original Montano drawings in the Centre Canadien d’Architecture/Canadian Centre for Architecture, Montréal. Also explored is the legacy and impact of Montano’s drawings and the later publications of his designs on the works of Roman Baroque architects, specifically Borromini and Bernini. This thesis ultimately attempts to understand the impact of the intellectual and artistic environment surrounding Montano in late sixteenth and early seventeenth century Rome, his drawing techniques, his choice of subject matter, and the reception that his unique works received from contemporary artists and intellectuals, along with those of the following generation.

La amistad cívica en Aristóteles: concordia y fraternidad

El artículo muestra la importancia de la amistad en el contexto de la filosofía política aristotélica. Esta importancia se verifica en su peso específico en comparación con la justicia, puesto que Aristóteles mismo sostiene que la amistad cívica es incluso un objetivo superior al de la búsqueda de la justicia. En concreto, el artículo se centra en la función de la concordia, como tipo especial de amistad cívica, en términos de conservación de la unidad y estabilidad de la polis. Para captar su significación, se plantea el papel de la concordia como complemento a la condición política del ser humano. La concordia es necesaria a la luz de la tendencia a la lucha entre las partes de la ciudad, entre el demos y los oligarcas. Puesto que esta lucha pone en peligro la continuidad de la polis, la concordia entre ciudadanos se convierte en un antecedente privilegiado del principio de fraternidad republicana, el cual todavía no ha gozado de una atención suficiente en el campo de la historia de la filosofía política.

"Cómo pintar el aire". Fundamentos científicos de la perspectiva atmosférica

La perspectiva aérea o atmosférica es juzgada por los pintores como parte esencial de la pintura, una vez establecidos los presupuestos geométricos de la representación naturalista mediante la perspectiva lineal. Leonardo da Vinci fue el primer autor en definir la perspectiva aérea o atmosférica, conocidos ya a través de L. B. Alberti los fundamentos geométricos de la perspectiva lineal en el tratado De Pictura (1435). Doscientos años después, tras la influyente publicación del Optics de Newton, contextualizadas bajo el espíritu racionalista del siglo XVIII, el artículo estudia las recomendaciones que desde la ciencia y los científicos (específicamente a través de tres figuras relevantes: Brook Taylor, J. H. Lambert y Gaspard Monge) se dan a los pintores con la pretensión de arbitrar una medición exacta del color, en confrontación con el tradicional empirismo del mundo artístico. Este tema puede considerarse un capítulo de gran interés en la larga historia de la pintura y la representación de los fenómenos atmosféricos, cuyos antecedentes teóricos tienen su inicio en el Débat sur le Coloris de la Académie Française del siglo XVII y sus resultados, conducirán hacia el nacimiento de la moderna Teoría del color, en respuesta a una cuestión tan compleja sobre cómo pintar el aire.