1000 resultados para Cão assintomático
Resumo:
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Resumo:
A Estenose Pulmonar (EP) é uma doença cardíaca congénita (DCC) caracterizada por obstrução dinâmica ou fixa do trato de saída do ventrículo direito. A EP vem referida como sendo a terceira DCC mais diagnosticada no cão, havendo, no entanto estudos mais recentes classificam-na como a segunda mais comum ou até a primeira. A forma de EP mais comum é a valvular, provando-se ter uma base hereditária poligénica em beagles e pensando-se ter um caracter autossómico recessivo em golden retrievers. As raças mais afetadas pela EP são o bulldog inglês, bulldog francês, boxer, pitbull, schnautzer entre outras. A maioria dos indivíduos afetados por esta condição não apresenta sinais clínicos, sendo a maioria dos indivíduos com EP descobertos pela presença de um sopro e conseguinte investigação. Cerca de 35% dos cães com EP severa demonstram intolerância ao exercício, sincope ou ascite. O sopro detetado à auscultação é sistólico de ejeção crescendo-decrescendo com ponto de máxima intensidade na base esquerda radiando dorsalmente. A ecocardiografia é um método expedito na deteção e caracterização da gravidade da doença. O prognóstico depende da gravidade da lesão e se o individuo está ou não assintomático na altura da apresentação. Este trabalho teve como objetivo estudar a EP numa população canina exposta a ecocardiografia no Hospital Veterinário do Porto (HVP). Neste estudo fez-se uma análise retrospetiva das alterações cardiovasculares diagnosticadas a cães no serviço de ecocardiografia do HVP, entre Março de 2003 e Fevereiro de 2012. Foram sujeitos a ecocardiografia neste período 808 cães, 715 dos quais com alterações cardiovasculares, a prevalência de DCC’s foi de 13.8%. A EP foi a segunda DCC mais diagnosticada nesta população de animais (2.80%), surgindo em 20 dos 99 cães com DCCs (20.2%). A forma de EP mais diagnosticada foi a valvular. As raças Boxer, Terranova, Dogue argentino e Fila brasileiro apresentam um maior risco relativo de terem EP. Não se verificou a existência de uma relação estatística significativa entre o sexo e a EP, quer considerando a amostra completa, quer separando por raça. A instauração de programas e normas de rastreio de EP em reprodutores, em Portugal, permitirá diminuir a incidência da doença e ter uma verdadeira noção da prevalência desta doença na população canina.
Resumo:
This paper considers the question, ‘what is co-creative media, and why is it a useful idea in social media research’? The term ‘co-creative media’ is now used by Creative Industries researchers at QUT to describe their digital storytelling practices. Digital storytelling is a set of collaborative digital media production techniques that have been used to facilitate social participation in numerous Australian and international contexts. Digital storytelling has been adapted by Creative Industries researchers at QUT as a platform for researching the potential of vernacular creativity in a variety of contexts, including social inclusion of marginalized and disadvantaged groups; inclusion in public histories of narratives that might be overlooked; and articulation of voices that otherwise remain silent in the formulation of social and economic development strategies. The adaption of digital storytelling to different contexts has been shaped by the reflexive, recursive, and pragmatic requirements of action research. Amongst other things, this activity draws attention to the agency of researchers in facilitating these kinds of participatory media processes and outcomes. This discussion serves to problematise concepts of participatory media by introducing the term ‘co-creative media’ and differentiating these from other social media production practices.
Resumo:
ABSTRACT. The phenomenon of consumer co-creation is often framed in terms of whether either economic market forces or socio-cultural non-market forces ultimately dominate. We propose an alternate model of consumer co-creation in terms of co-evolution between markets and non-markets. Our model is based on a recent ethnographic study of a massively multiplayer online game through its development, release and ultimate failure, and cast in terms of two explanatory models: multiple games and social network markets. We conclude that consumer co-creation is indeed complex, but in ways that relate to both emergent market expectations and the evolution of markets, not to the transcendence of markets.
Resumo:
This article discusses the ways in which the relations among professional and non-professional participants in co-creative relations are being reconfigured as part of the shift from a closed industrial paradigm of expertise toward open and distributed expertise networks. This article draws on ethnographic consultancy research undertaken throughout 2007 with Auran Games, a Brisbane, Australia based games developer, to explore the co-creative relationships between professional developers and gamers. This research followed and informed Auran’s online community management and social networking strategies for Fury (http://unleashthefury.com), a massively multiplayer online game released in October 2007. This paper argues that these co-creative forms of expertise involve co-ordinating expertises through social-network markets.
Resumo:
The definition and operationalisation of interactional competence in speaking tests that entail co-construction of discourse is an area of language testing requiring further research. This article explores the reactions of four trained raters to paired candidates who oriented to asymmetric patterns of interaction in a discussion task. Through an analysis of candidate discourse combined with rater notes, stimulated verbal recalls, rater discussions and scores awarded for interactional effectiveness, the article examines the extent to which raters compensate or penalise candidates for their role in co-constructing asymmetric interactional patterns. The article argues that key features of the interaction are perceived by the raters as mutual achievements, and it further suggests that the awarding of shared scores for interactional competence is one way of acknowledging the inherently co-constructed nature of interaction in a paired speaking test.
Resumo:
In recent decades a number of Australian artists and teacher/artists have given serious attention to the creation of performance forms and performance engagement models that respect children’s intelligence, engage with themes of relevance, avoid the cliche´s of children’s theatre whilst connecting both sincerely and playfully with current understandings of the way in which young children develop and engage with the world. Historically a majority of performing arts companies touring Australian schools or companies seeking schools to view a performance in a dedicated performance venue engage with their audiences in what can be called a ‘drop-in drop-out’ model. A six-month practice-led research project (The Tashi Project) which challenged the tenets of the ‘drop-in drop-out’ model has been recently undertaken by Sandra Gattenhof and Mark Radvan in conjunction with early childhood students from three Brisbane primary school classrooms who were positioned as co-researchers and co-artists. The children, researchers and performers worked in a complimentary relationship in both the artistic process and the development of product.
Resumo:
The compulsory dispute resolution requirements in family law parenting cases create new roles and obligations for both lawyers and family dispute resolution (FDR) practitioners. This article will discuss how the legislative provisions impact on both sets of professionals in practice. It will also highlight the increased non-adversarial role of lawyers and a new role for FDR practitioners as “gatekeepers” to family courts in cases requiring FDR certificates.
Resumo:
Co-production and strategic partnerships may generate valuable learning opportunities for firms to access to the knowledge and expertise of their partners. Such sharing and transfer of knowledge has become an increasingly common way for organising corporate finance and resources. However, not all collaborations result in a net positive experience for both partners. It can be a zero-sum game in which the partner learning the fastest dominates the relationship. In some cases, failure to gain access to partner knowledge results in unequal benefits accruing from such alliances. By examining the Singapore film industry from a learning perspective and taking into account particular forms of alliances, the study contributes to our understanding of the potential benefit and challenges of coproduction as a strategy for development.