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Revisiones bibliográficas. Documentación científica en Ortopedia y Traumatología, medicina deportiva, artroscopia, artroplastia y de todas las patologías del sistema Músculo-Esquelético
jueves, 20 de enero de 2011
Bases biológicas de la adicción al tabaco: Implicaciones del tratamiento para dejar de fumar
Actualizaciones cefalea
Actualizaciones
Cefalea
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Cefalea tensional
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Migraña
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Manejo terapéutico de las migrañas
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Cefalea en racimos
Cefalea
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Cefalea tensional
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Migraña
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Manejo terapéutico de las migrañas
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Cefalea en racimos
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Cefalea
Protocolo diagnóstico de la cefalea de reciente comienzo
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13190428&pident_usuario=0&pident_revista=62&fichero=62v10n70a13190428pdf001.pdf&ty=1&accion=L&origen=medicine&web=www.medicineonline.es&lan=es
Protocolo diagnóstico de la cefalea crónica
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13190429&pident_usuario=0&pident_revista=62&fichero=62v10n70a13190429pdf001.pdf&ty=2&accion=L&origen=medicine&web=www.medicineonline.es&lan=es
Protocolo diagnóstico de la cefalea con fiebre
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13190430&pident_usuario=0&pident_revista=62&fichero=62v10n70a13190430pdf001.pdf&ty=3&accion=L&origen=medicine&web=www.medicineonline.es&lan=es
Protocolo terapéutico sintomático y preventivo de la cefalea tensional
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13190431&pident_usuario=0&pident_revista=62&fichero=62v10n70a13190431pdf001.pdf&ty=4&accion=L&origen=medicine&web=www.medicineonline.es&lan=es
Protocolo de manejo de las cefaleas en los Servicios de Urgencias
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13190432&pident_usuario=0&pident_revista=62&fichero=62v10n70a13190432pdf001.pdf&ty=5&accion=L&origen=medicine&web=www.medicineonline.es&lan=es
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13190428&pident_usuario=0&pident_revista=62&fichero=62v10n70a13190428pdf001.pdf&ty=1&accion=L&origen=medicine&web=www.medicineonline.es&lan=es
Protocolo diagnóstico de la cefalea crónica
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13190429&pident_usuario=0&pident_revista=62&fichero=62v10n70a13190429pdf001.pdf&ty=2&accion=L&origen=medicine&web=www.medicineonline.es&lan=es
Protocolo diagnóstico de la cefalea con fiebre
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13190430&pident_usuario=0&pident_revista=62&fichero=62v10n70a13190430pdf001.pdf&ty=3&accion=L&origen=medicine&web=www.medicineonline.es&lan=es
Protocolo terapéutico sintomático y preventivo de la cefalea tensional
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13190431&pident_usuario=0&pident_revista=62&fichero=62v10n70a13190431pdf001.pdf&ty=4&accion=L&origen=medicine&web=www.medicineonline.es&lan=es
Protocolo de manejo de las cefaleas en los Servicios de Urgencias
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13190432&pident_usuario=0&pident_revista=62&fichero=62v10n70a13190432pdf001.pdf&ty=5&accion=L&origen=medicine&web=www.medicineonline.es&lan=es
Reintroductions on a Winter’s Eve
DANCE REVIEW
Reintroductions on a Winter’s Eve
Andrea Mohin/The New York Times
Georgina Pazcoguin, left, and Meagan Mann of New York City Ballet soar above Sébastien Marcovici in “The Four Temperaments” on Tuesday night. More Photos »
By ALASTAIR MACAULAY
Published: January 19, 2011
Life in New York just is more complete when New York City Ballet is in residence and dancing Balanchine. Let me add a few immediate qualifications to that. Like any of the company’s followers, I have my grumbles: I certainly don’t mean to imply that the company should dance nothing but Balanchine; yes, I sometimes see — mainly outside New York — other companies that dance Balanchine as well or better; and there are many other forms of dance and art that I crave. But in its wealth of Balanchine repertory City Ballet has an unmatchable asset, and to renew acquaintance with these ballets can be among the great and regular joys of living in New York.
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Andrea Mohin/The New York Times
Robert Fairchild and Sterling Hyltin performing Balanchine's “Duo Concertant” at City Ballet's opening night on Tuesday. More Photos »
Let nobody take that wealth for granted. The company’s winter season opened on Tuesday with an all-Balanchine program, and over the next six weeks it will dance 27 ballets, 12 of them by Balanchine. (Also on the schedule are works by Jerome Robbins, Christopher Wheeldon and Alexei Ratmansky that I’m keen to see again.) Now compare that to how few other ballets are being danced by any other company in the world over a whole year. This prodigality of choreographic fare has been standard with City Ballet for more than 60 years. Nowhere else will you find it.
To those who wonder if Balanchine can be that great, Tuesday’s quadruple bill was a good corrective. In “Walpurgisnacht Ballet” (1980) the classical choreographer is Romantically inflamed. If ever Balanchine had re-choreographed the full four-act “Swan Lake,” I’d like to imagine he’d have made the scene for the antiheroine Odile like this: voluptuous, intoxicating, with the ballerina leading a female throng whose energies all grow increasingly wild around the bewildered but overwhelmed hero. (“Walpurgisnacht” is choreographed to music for a ballet orgy from Gounod’s opera “Faust.”)
In the “Duo Concertant” duet (1972), Balanchine is the radical modernist who turns Romantic at the end. The ways in which parts of the Stravinsky music are left undanced, the seemingly improvisatory manner in which the dancers start to move; the sudden final shift into a few spotlighted fragments of open-hearted gesture: in no other work does Balanchine seem so deliberately to drop his mastery of classical construction and instead give us something tantalizingly and intentionally incomplete.
“Valse-Fantaisie” from 1967 is strictly classical ballet in vocabulary, heartily Romantic in spirit. Ballerina, male dancer and four-woman corps de ballet are all borne along by the irresistible waltz impulse of Glinka’s music. It feels all too short. Closing the program is “The Four Temperaments” (1946), a Modernist work that embodies just how many contradictory ways Modernism can face at once. It’s a pure-dance theme-and-variations architecture in which a few sparse but subversive and exploratory movement ideas are assembled into a vast and unpredictable whole. It’s a startling new look at the sexes, with women dancing huge, strong and hard, and making fierce demands of men, who are compliant, soft and in some cases conflicted. It’s an expressionist work in which human energies are redefined in terms of the four humors of medieval physiology (Melancholic, Sanguine, Phlegmatic, Choleric). It’s ballet galvanized by drastic impulses that feel very close to the root elements of contraction and release that underlay Martha Graham’s conception of modern dance. And these few notes only scratch its surface.
The musicality of Balanchine’s choreography is often — lazily — spoken of as if there were something inevitable about it, as if the music explained every movement. But it doesn’t take much analysis to see how often Balanchine picks out rhythms that aren’t simply the same as the music’s: frequently they play with expectations, anticipating or answering the music in ways that take you by surprise, arriving on an up just as the music arrives down, and much more. Even in ballets I think I know well, these effects of timing frequently take the breath away as with no other choreographer.
“The Four Temperaments” has been rehearsed to show a few aspects I haven’t seen in recent years, with male chivalry to women wittily reaccentuated. Certainly on Tuesday, the way the men skittered about to serve their women in the three Theme duets had an element (not unwelcome) of enjoyable comedy. The forceful cut-and-thrust that the tall, gorgeous Teresa Reichlen brings to Choleric was the most glorious event of the evening: it epitomized the ways in which Balanchine, and his view of women, went beyond — and remains beyond — all others in ballet.
The other great pleasure on Tuesday was Robert Fairchild in “Duo Concertant.” His first solo, pouncing onto the beat and exploding away from it, had an experimentalist freshness that is another epitome of ideal Balanchine dancing: you couldn’t believe he’d danced it before.
Most of the time Ashley Bouder, in “Valse-Fantaisie,” showed a similar sparkle. The main problem for this terrific virtuoso is her excessive need to project prepared facial expressions. It occurs only when she looks directly out front, as if addressing the rehearsal mirror; an element of calculation seems to enter her upper body. When she’s looking elsewhere — often in this ballet — her dancing comes like birdsong.
Wendy Whelan and Charles Askegard could simply not meet the stylistic demands of “Walpurgisnacht.” Ms. Whelan’s sheer decisiveness and canniness do much to smudge over the cracks in her performance, and Mr. Askegard’s partnering is unsurpassed. But he is stiff, while the adagio and the allegro passages of her role expose problems in her technique. In these conditions, her upper and lower body cease to be precisely coordinated, and her long arms move as if to a different drummer.
As always at City Ballet, there are a number of dancers who, while striking as both beauties and as technicians, remain embryonic, unfulfilled as expressive artists. Sterling Hyltin’s figure has never looked more beautiful than in “Duo Concertant,” and her lightness is heart-catching. If only that lightness were etched more firmly, if only she exerted a new authority.
Andrew Veyette, a short-notice replacement for Joaquin De Luz in “Valse-Fantaisie,” showed a very pleasant warmth and fresh energy, but the elegance of his line is inconsistent. Ana Sophia Scheller, the soloist in “Walpurgisnacht,” is consistently elegant and rhythmically bright; I can’t help wanting her to be more luxurious in one way and more incisive in another. The female corps de ballet in “Walpurgisnacht” glowed with both talent and hope. But the season has only just begun. The story of each of these and many more dancers will unfold in the weeks to come.
Business Leaders Make Cut at State Dinner With Hu
Business Leaders Make Cut at State Dinner With Hu
Doug Mills/The New York Times
President Obama and the first lady, Michelle Obama, greeted President Hu Jintao of China. More Photos »
By SHERYL GAY STOLBERG
Published: January 19, 2011
WASHINGTON — Jimmy and Rosalynn Carter made the cut. So didBill Clinton and his wife, the secretary of state. The heads of Microsoft, Boeing, Goldman Sachs, JPMorgan Chase and Walt Disney were on the list. So were the singer Barbra Streisand, the ice skater Michelle Kwan, the cellist Yo-Yo Ma, the architect Maya Linand the fashion designer Vera Wang.
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But Fred P. Hochberg, the chairman of the Export-Import Bank, did not make the list for President Obama’s state dinner for President Hu Jintao of China, even though trade was a major theme of the day. Neither did Daphne Kwok, even though Mr. Obama named her last July to head the White House Advisory Commission on Asian-Americans and Pacific Islanders.
“I’m extremely happy for some of my friends that got to go tonight,” said Ms. Kwok, a longtime advocate for Asian-Americans who lives in San Francisco. “You can’t compete against President Carter and President Clinton. My goodness.”
The 225 guests at Wednesday night’s White House affair were, in a certain sense, survivors. All made it through an intense winnowing-down process by a White House confronted by some of toughest jockeying for invitations in recent memory.
The White House was especially private about the planning, for fear of saying or doing something that might offend the Chinese. The theme for the evening was “quintessentially American,” with a menu that featured farm-fresh vegetables, poached Maine lobster, dry-aged rib-eye with buttermilk crisp onions, topped off by old-fashioned apple pie with ice cream. The entertainment, in the White House East Room, was the most quintessential of American music — a parade of jazz greats, including Herbie Hancock.
The guest list was heavy on Chinese-Americans and corporate executives — no surprise, given that President Obama used Mr. Hu’s visit to press China to open its markets to goods made by American companies. One official familiar with the planning of the dinner said there was “definitely a clamoring among business leaders to get in.”
Some attendees were blithe about it.
“I was born Chinese, I think,” said Representative David Wu, Democrat of Oregon, explaining why he got his invitation.
He said it “came in over the transom,” but he was not entirely surprised, given that he is the first Chinese-American ever elected to the House, and has been an advocate for human rights in China. Mr. Wu traveled to Oslo recently to attend the ceremony at whichLiu Xiaobo, the imprisoned Chinese dissident, was awarded the Nobel Peace Prize in absentia.
Mr. Obama has been publicly pressing Mr. Hu over China’s human rights record, and the White House seemed to be using the guest list to reinforce that message. Kenneth Roth, executive director of Human Rights Watch, was among the attendees. “I take the reason I was invited as a statement to President Hu,” Mr. Roth said.
The list included a fair number of Obama administration insiders, including two Chinese-American White House aides, Christopher P. Lu and Christina M. Tchen, as well as the highest-ranking Chinese-Americans in the administration, Commerce Secretary Gary Locke and Energy Secretary Steven Chu. And it included a number of people close to the U.S.-China Business Council, which represents major American corporations doing business in China, and the Committee of 100, a nonpartisan group of prominent Chinese-Americans.
Journalists, too, made the dinner cut, among them Nicholas D. Kristof of The New York Times, who with his wife, Sheryl WuDunn, won the Pulitzer Prize for their coverage of the Tiananmen Square uprising in 1989. Wendi Deng Murdoch, the wife of the media magnate Rupert Murdoch, was there without her husband. She said he was traveling.
The dinner came just hours after a State Department lunch, where Mr. Hu was treated to roasted butternut squash soup and fillet of Alaskan cod; his hosts were Vice PresidentJoseph R. Biden Jr. and Secretary of State Hillary Rodham Clinton. Among the roughly 175 guests were some of the same big names who attended the dinner later: Ms. Kwan; Ms. Wang; at least three former secretaries of state, Henry A. Kissinger, Madeleine K. Albright and George P. Shultz; and Ms. Streisand.
Later, as she walked into the White House for the dinner, Ms. Streisand was asked what accounted for her invitation. Her reply was deadpan: “I worked in a Chinese restaurant.”
Doctor Is Charged in Killing of Newborns
Doctor Is Charged in Killing of Newborns
By SABRINA TAVERNISE
Published: January 19, 2011
An abortion doctor who served minority and immigrant women in his clinic in Philadelphia was charged with multiple counts of murder on Wednesday in the deaths of a woman and seven newborn babies whose spinal cords had been cut with scissors, the district attorney’s office said.
Matt Rourke/Associated Press
Prosecutors called Dr. Kermit Gosnell’s clinic “a baby charnel house.”
Prosecutors charged Dr. Kermit Gosnell, 69, with eight counts of murder in the deaths of Karnamaya Mongar, 41, a refugee from Nepal, who received high doses of anesthetic for an illegal late-term abortion performed in 2009 and of seven infants who were born, killed and then disposed of in Dr. Gosnell’s West Philadelphia clinic, the Women’s Medical Society.
Prosecutors laid out their case in a 281-page grand jury document that read like a grisly script. Plastic bags and mineral water bottles holding aborted fetuses were found stashed in Dr. Gosnell’s clinic. Jars containing the severed feet of babies lined a shelf, the Philadelphia district attorney, Seth Williams, said in a statement.
Dr. Gosnell, a family practitioner who was not certified in obstetrics, performed late-term abortions, after 24 weeks, which are illegal, and employed staff members who were not trained medical professionals, including a teenage girl, prosecutors said. Nine of his employees were also charged.
“It is very important to remember that Dr. Gosnell is presumed innocent,” a lawyer for Dr. Gosnell, William J. Brennan, said. “I would hope there is not a rush to judgment and that he has an opportunity to review this very lengthy charging document.”
In the grand jury document, prosecutors called Dr. Gosnell’s clinic “a baby charnel house,” riddled with fetal remains and reeking of cat urine, with furniture and blankets stained with blood. Medical equipment was broken and supplies were reused.
“The real business of the ‘Women’s Medical Society’ was not health, it was profit,” the document stated. It detailed a practice of selling prescription painkillers during the day, and at night, performing abortions for cash for women who could not get them elsewhere because they were too pregnant.
When labor was induced and a baby was born, Dr. Gosnell would kill it by cutting into its neck and severing its spinal cord in a process he referred to as “snipping.” In one case involving a 17-year-old who was 30 weeks pregnant, prosecutors said that Dr. Gosnell induced labor, severed the baby’s spine and put the body in a shoe box. “The doctor joked that the baby was so big, ‘he could walk me to the bus stop,’ ” the document said.
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