997 resultados para Dick Goodwin


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Antecedentes. La enfermedad de Parkinson (EP) es la segunda enfermedad neurodegenerativa más común en el mundo, la cual afecta el componente físico, psicológico y social de los individuos que la padecen. Numerosos estudios han abordado los beneficios de diferentes programas de ejercicio, llegando a ser una estrategia no-farmacológica efectiva para aminorar el deterioro funcional de los pacientes con EP. Objetivo. Determinar los efectos de las diferentes modalidades de ejercicio físico en los principales desenlaces clínicos en pacientes con EP. Métodos. Se consultaron las bases de datos MEDLINE, EMBASE, Scopus, CENTRAL y PEDro desde febrero de 1990 hasta febrero de 2014 para identificar Ensayos Clínicos Aleatorizados (ECA) publicados. Además, se examinaron las listas de referencias de otras revisiones y de estudios identificados. La extracción de datos se realizó por dos autores independientes. Se empleó un modelo de efectos aleatorios en presencia de heterogeneidad estadística (I2>50%). El sesgo de publicación fue evaluado mediante el gráfico de embudo. Resultados: Un total de 18 estudios fueron incluidos. Se encontraron diferencias estadísticamente significativas en las intervenciones con ejercicio y las siguientes medidas de resultado, severidad de los síntomas motores (MDS-UPDRS) DME 1.44, IC 95% [-2.09 a -0.78] (p<0.001) I2= 87,9% y el equilibrio DME 0,52 IC 95% [0,30 a 0,74] (p<0.001) I2= 85,6%. En el análisis de subgrupos en la modalidad de ejercicio aeróbico, en MDS-UPDRS DME -1,28, IC 95% [-1,98 a -0,59] (p<0.001), 3 calidad de vida DME -1,91 IC 95% [-2,76 a -1,07] (p<0.001), equilibrio DME 0,54 IC 95% [0,31 a 0,77] (p<0.001), 10-m WT DME 0,15 IC 95% [0,06 a 0,25] (p<0.001) y Vo2 máximo DME -1,09 IC 95% [-1,31 a -0,88] (p=0.001), 6MWT DME 40,46 IC 95% [11,28 a 69,65] (p=0.007). Conclusiones: El ejercicio aeróbico produjo mejoras significativas en MDS UPDRS, equilibrio, calidad de vida, 10-m WT y y Vo2 máximo; mientras que el ejercicio combinado mejoró la fuerza.

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Una recopilación de tres historias: la primera cuenta la historia de una paloma con un inusual talento. En la segunda historia, tres magníficos caballos se encuentran en terrible peligro, y en la última historia, un desaliñado perro sueña en convertirse en un perro guardián.

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Garfield produces a critique of neo-minimalist art practice by demonstrating how the artist Melanie Jackson’s Some things you are not allowed to send around the world (2003 and 2006) and the experimental film-maker Vivienne Dick’s Liberty’s booty (1980) – neither of which can be said to be about feeling ‘at home’ in the world, be it as a resident or as a nomad – examine global humanity through multi-positionality, excess and contingency, and thereby begin to articulate a new cosmopolitan relationship with the local – or, rather, with many different localities – in one and the same maximalist sweep of the work. ‘Maximalism’ in Garfield’s coinage signifies an excessive overloading (through editing, collage, and the sheer density of the range of the material) that enables the viewer to insert themselves into the narrative of the work. In the art of both Jackson and Dick Garfield detects a refusal to know or to judge the world; instead, there is an attempt to incorporate the complexities of its full range into the singular vision of the work, challenging the viewer to identify what is at stake.

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Herman Melville discovered the philosophy of Arthur Schopenhauer late in life, and must have been surprised to discover how close this writer's philosophy was to his own beliefs. Despite this late revelation, the influence on Melville's work was strong, and there are good arguments to show that Melville was inspired by his ideas in the creation of 'Bartleby , the Scrivener' and Billy Budd. Melville may well have been aware of Schopenhauer's philosophy earlier, however, regardless of his lack of proven or direct exposure to the work of the German writer at the time of its composition, Moby-Dick exhibits many affinities with Schopenhauer's thought and it is possible to examine the book through such a reading.

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It remains one of the great ironies of American literary history that Melville's Moby-Dick struggled so long for critical and popular recognition. It is a peculiar text (but, then, so are Hawthorne's novels), a romance of the whale fishery that involves such explorations of language itself, of words, metaphor, symbol, allegory and the processes (and significance) of narrative construction. This article analyses its 'peculiarities' as fundamental indicators of Melville's 'playful art' to argue the usefulness of a concept of 'play' to its appreciation. That Moby-Dick is allusive and multi-layered is well known. But for what apparent purpose and to what effect? Here, a claim is made that Melville simultaneously constructs and deconstructs meaning by demonstrating that things ('in complex subjects') never come simply or singly. The later Barthes and Derrida become part of this ship's crew and Moby-Dick is a postmodernist novel avant la lettre.

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Legendary coach Dick Whitmore retires after 40 years, but his relationship with his “basketball people” endures.

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)