Monitorização vídeo-EEG prolongada em crises não epilépticas: semiologia clínica

O objetivo deste estudo foi mostrar a contribuição da monitorização vídeo-EEG prolongada (MVEP) no diagnóstico de crises não epilépticas (CNE) e estimar sua prevalência em um centro terciário de atendimento à Epilepsia (EP). Foram observados 47 pacientes com diagnóstico de CNE com crises espontâneas ou provocadas. Foram instituídos protocolos direcionados à história clínica e à semiologia das crises. A análise estatística baseou-se no teste de Fisher e na análise de cluster. Os resultados evidenciaram prevalência de 10% de CNE. Houve predominância do sexo feminino (63,8%); em 57% dos pacientes as crises foram espontâneas. A média de idade foi 32,5 ± 11anos. O sinal semiológico mais freqüente foi o sono aparente (87,2%). em 9% dos pacientes observaram-se tanto EP como CNE. Três agrupamentos resultaram da análise de cluster: CNE hipermotora das extremidades com alteração de tônus; CNE com automatismos e CNE axial com movimentos oculares. em conclusão, o estudo da semiologia clínica das CNE durante a MVEP contribui para o diagnóstico desta entidade nosológica e para o diagnóstico diferencial com EP; o teste provocativo auxilia na obtenção das crises.

Uma análise de semelhanças e diferenças na tradução de textos técnicos, jornalísticos e literários

Por meio da utilização de corpus de textos técnicos, jornalísticos e literários escritos originalmente em inglês e traduzidos para o português, pode-se efetuar uma análise das soluções propostas pelos tradutores ao lidarem com semelhanças e diferenças lingüísticas e culturais dos textos de partida e de chegada. Com esse intuito, aplicou-se o modelo descritivo-comparativo sugerido por Aubert (1984, 1998), o qual se origina das categorias de Vinay e Darbelnet ([1958, 1977] 1995), a fim de, primeiramente, identificar e, depois, classificar os procedimentos ou modalidades empregadas na tradução desses gêneros textuais. Registraram-se como modalidades de maior incidência nos três corpora: a tradução literal, a transposição e a modulação. em virtude de a alta freqüência da tradução literal ocorrer em textos técnicos e, contrariamente ao esperado, incidir com proporção ainda maior em textos jornalísticos, poder-se-ia inferir uma tendência para automatismos na tradução desses dois tipos de textos. Já a necessidade de um emprego acentuado da modulação e da transposição com modulação em textos literários poderia ser decorrente de uma participação mais ativa do tradutor na tentativa de escapar da literalidade e proceder a uma maior reelaboração, a fim de passar características normalmente associadas à linguagem do romance.

Anteprojeto de um sistema digital de proteção e controle aplicado em uma subestação elétrica industrial

With the growth of the demand on electric energy in the last decades, the urban distribution and transmission systems have experienced a bigger necessity to improve on the substations, the automation procedures and techniques on the operation maneuvers of such systems, in a sense that better attends the quality levels, availability, continuity and operational reliability. In this way, the objective of the present paper is to perform a study of protection and control on an electrical industrial system involving the procedures of digitizing and maneuvers automatism utilizing operational techniques and other pertinent information used in a typical high-voltage Industrial Electrical System. Analysis were made on short-circuits to specify the main components of the 138 [kV] substation, in addition, there were used digital MiCOM relays to make the protection of the present elements. With that, a program was developed to allow the user to monitor the condition of circuit-breakers through a supervision screen being able to simulate some kinds of faults, as well as observing the characteristics of each device. This way, the importance of having a fast and reliable system that ensures the equipment’s protection and the industrial process continuity due to faults on the electrical system is noticeable. It’s important to highlight that all this digitizing was mainly favored by the development of digital technology on the last years, mainly on microelectronics, also with the appearance of supervision gadgets allowing the development of complex systems in supervision and electric energy control

Cardiac Rhythm Disturbances Associated with Amlodipine Acute Intoxication

Amlodipine is a dihydropyridine calcium channel antagonist extensively used for the treatment of arterial hypertension, with predominant effect on the peripheral vascular territory. In most cases of severe intoxication, important hypotension and reflex tachycardia are usually observed. We report a case of young man with severe amlodipine intoxication that developed important bradyarrhythmias, such as low atrial rhythm, prolonged PR interval, atrioventricular block, and left bundle branch block. These rhythm disturbances suggest that, during acute intoxication, dihydropyridine loses its selective action on the vascular territory and can depress automatism and conduction of cardiac electrical stimulus.

Pages from an old volume of life ; a collection of essays, 1857-1881,

Bread and the newspaper.--My hunt after "the captain."--The inevitable trail.--The physiology of walking.--The seasons.--The human body and it's management.--Cinders from the ashes.--Mechanism in thought and morals.--The physiology of versification.--Crime and automatism.--Jonathan Edwards.--The pulpit and the pew.

Pages from an old volume of life ; a collection of essays, 1857-1881,

Bread and the newspaper.--My hunt after "the captain."--The inevitable trail.--The physiology of walking.--The seasons.--The human body and it's management.--Cinders from the ashes.--Mechanism on thought and morals.--The physiology of versification.--Crime and automatism.--Jonatahan Edwards.--The pulpit and the pew.

The gate of remembrance;

Mode of access: Internet.

Human personality and its survival of bodily death,

Edited after the author's death by Richard Hodgson and Alice Johnson.

The gate of remembrance; the story of the psychological experiment which resulted in the discovery of the Edgar Chapel at Glastonbury.

Mode of access: Internet.

Semantically Enhanced Software Documentation Processes

High-quality software documentation is a substantial issue for understanding software systems. Shorter time-to-market software cycles increase the importance of automatism for keeping the documentation up to date. In this paper, we describe the automatic support of the software documentation process using semantic technologies. We introduce a software documentation ontology as an underlying knowledge base. The defined ontology is populated automatically by analysing source code, software documentation and code execution. Through selected results we demonstrate that the use of such semantic systems can support software documentation processes efficiently.

The fevered novel from Balzac to Bernanos:frenetic Catholicism in crisis, delirium and revolution

Book Review: The Fevered Novel from Balzac to Bernanos: Frenetic Catholicism in Crisis, Delirium and Revolution. By Francesco Manzini. (IGRS Books). London: Institute of Germanic and Romance Studies, 2011. 264 pp. Full text: This monograph is an important and compelling account of a novelistic tradition that stretches from Georges Bernanos back to Balzac, by way of Léon Bloy, Joris-Karl Huysmans, and Barbey d'Aurevilly. Depending on a master plot that evokes Maistrean themes of blood, sacrifice, and redemption, working in a feverish female body, this canon combines Romantic freneticism and anti-Enlightenment religion to create a compound that Francesco Manzini calls ‘frenetic Catholicism’. The theme of fever, Manzini tells us, was commented on by Huysmans in writing about Barbey d'Aurevilly. When André Gide read Bernanos's Sous le soleil de Satan, he dismissed it as a rehash of Bloy and Barbey. In this present work Manzini aims to make us aware once more of the gradually intensifying themacity of fever in writings more usually classed in theologo-literary categories. His analysis encompasses (though is not restricted to) Balzac's Ursule Mirouët, Barbey d'Aurevilly's Un prêtre marié, Huysmans's En rade, Bloy's Le Désespéré and La Femme pauvre, and Bernanos's Nouvelle histoire de Mouchette. Thus, as Manzini argues in his conclusion, between the freneticism of the Romantics and that of the surrealists this corpus represents an intermediary wave of freneticism, foregrounding fever, hyperconsciousness, dreamlike episodes, and female automatism. Manzini's knowledge of, and ease amidst, the sources is constantly impressive. Much like Richard Griffiths before him (The Reactionary Revolution: The Catholic Revival in French Literature, 1870–1914 (London: Constable, 1966)), he has read both the bad novels and the good ones. For that we are in his debt. His commentary thrives on the oddities of his subjects. He points quite rightly to the peculiar hubris of writers whose contempt for the secular excesses of scientism leads them down a cul-de-sac of primitive medical quackery. Likewise, he underlines how Zola's attempt to unwrite Barbey — exorcising the former's anti-Romantic animus, as much as scratching his anticlerical itch — leads him to recapitulate Barbey's religious authoritarianism in the secular vernacular of patriarchy. Les espèces qui se rapprochent se mangent, to paraphrase Bernanos (Les Grands Cimetières sous la lune). In spite of all Manzini's tightly organized analysis, however, this reader wonders whether the fevered novel ‘best allowed contemporaries — and now […] literary critics and historians — to imagine the issues at stake in the amorphous scientistic, religious, and political debates’ of the period (p. 17). Below the ideological clashes of nineteenth-century science and religion, the two contending dynamics of anthropocentrism and theocentrism are attested and, it can be argued, even more perfectly dramatized in other Catholic literature (Charles Péguy's poetry, for example). In these terms, what distinguishes the Catholic frenetics from their Romantic or surrealist counterparts is that their fevered subject represents an attempt to build a road out of what Canadian philosopher Charles Taylor calls ‘buffered’ individuality, and back towards the theocentric porous subject who is open to divine influence. By way of minor corrections, nuns do not take holy orders (p. 94) but make religious profession by taking vows. Also, the last Eucharistic host is not extreme unction (p. 119) but viaticum.

Poïétique de la création sonore au cinéma : la figure de l’artiste-poïéticien

Nous proposons, dans ce mémoire, d’explorer les possibilités pratiques et pédagogiques d’une approche autopoïétique de la création sonore au cinéma. Notre principal souci sera de saisir les modalités de l’ascèse propre aux artistes qui se livrent à une telle activité, comprise comme un « apprentissage de soi par soi » (Foucault), afin de faire celui qui peut faire l’œuvre (processus de subjectivation), et le rôle descriptif et opératoire de cet exercice - en tant qu’effort pour penser de façon critique son propre savoir-faire -, dans le faire-œuvre et l’invention de possibles dans l’écriture audio-visuelle cinématographique. Pour ce faire, d’une part, nous étudierons, à partir de témoignages autopoïétiques, le rapport réflexif de trois créateurs sonores à leur pratique et leur effort pour penser (et mettre en place) les conditions d’une pratique et d’une esthétique du son filmique comme forme d’art sonore dans un contexte audio-visuel, alors qu’ils travaillent dans un cadre normalisant : Randy Thom, Walter Murch et Franck Warner. D’autre part, nous recourrons à différentes considérations théoriques (la théorie de l’art chez Deleuze et Guattari, la « surécoute » chez Szendy, l’histoire de la poïétique à partir de Valéry, etc.) et pratiques (la recherche musicale chez Schaeffer, la relation maître-apprenti, les rapports entre automatisme et pensée dans le cinéma moderne chez Artaud et Godard, etc.), afin de contextualiser et d’analyser ces expériences de création, avec l’objectif de problématiser la figure de l’artiste-poïéticien sur un plan éthique dans le sillage de la théorie des techniques de soi chez Foucault.

Poïétique de la création sonore au cinéma : la figure de l’artiste-poïéticien

Nous proposons, dans ce mémoire, d’explorer les possibilités pratiques et pédagogiques d’une approche autopoïétique de la création sonore au cinéma. Notre principal souci sera de saisir les modalités de l’ascèse propre aux artistes qui se livrent à une telle activité, comprise comme un « apprentissage de soi par soi » (Foucault), afin de faire celui qui peut faire l’œuvre (processus de subjectivation), et le rôle descriptif et opératoire de cet exercice - en tant qu’effort pour penser de façon critique son propre savoir-faire -, dans le faire-œuvre et l’invention de possibles dans l’écriture audio-visuelle cinématographique. Pour ce faire, d’une part, nous étudierons, à partir de témoignages autopoïétiques, le rapport réflexif de trois créateurs sonores à leur pratique et leur effort pour penser (et mettre en place) les conditions d’une pratique et d’une esthétique du son filmique comme forme d’art sonore dans un contexte audio-visuel, alors qu’ils travaillent dans un cadre normalisant : Randy Thom, Walter Murch et Franck Warner. D’autre part, nous recourrons à différentes considérations théoriques (la théorie de l’art chez Deleuze et Guattari, la « surécoute » chez Szendy, l’histoire de la poïétique à partir de Valéry, etc.) et pratiques (la recherche musicale chez Schaeffer, la relation maître-apprenti, les rapports entre automatisme et pensée dans le cinéma moderne chez Artaud et Godard, etc.), afin de contextualiser et d’analyser ces expériences de création, avec l’objectif de problématiser la figure de l’artiste-poïéticien sur un plan éthique dans le sillage de la théorie des techniques de soi chez Foucault.

Graciliano Ramos' prisons of memory

This study intends to show how the spiritual activity, when treating the memory as an instrument of complaint, in Graciliano Ramos’ Memórias do cárcere, faces the challenge of interacting with elements that can make it a prisoner of itself in the selection and application of images in the literary creation process; elements such as the carceral automatism, the egotism and the blind accession to the external reality.