Revisiones_bibliográficas TyO

viernes, 31 de diciembre de 2010

Helmintos y aparato respiratorio

Helmintos y aparato respiratorio
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4 lecturas para su casa, su trabajo, sus vacaciones, sus alumnos

4 lecturas para su casa, su trabajo, sus vacaciones, sus alumnos

Correo electrónico entre médico y paciente en pediatría
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13112836&pident_usuario=0&pcontactid&pident_revista=10&ty=43&accion=L&origen=elsevier&web=www.elsevier.es&lan=es&fichero=10v64n04a13112836pdf001.pdf

Competencia emocional del médico
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13099897&pident_usuario=0&pcontactid&pident_revista=45&ty=100&accion=L&origen=elsevier&web=www.elsevier.es&lan=es&fichero=45v14n03a13099897pdf001.pdf

Paciente que se niega a que un médico en formación realice un procedimiento
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13120820&pident_usuario=0&pcontactid&pident_revista=45&ty=161&accion=L&origen=elsevier&web=www.elsevier.es&lan=es&fichero=45v15n05a13120820pdf001.pdf

Ser médico... donde más lo necesitan
http://www.elsevier.es/watermark/ctl_servlet?_f=10&pident_articulo=13145568&pident_usuario=0&pcontactid&pident_revista=65&ty=114&accion=L&origen=elsevier&web=www.elsevier.es&lan=es&fichero=65v209n11a13145568pdf001.pdf

Feliz año nuevo 2011

10 Ways to Get the Most Out of Technology

Illustration by Tamara Shopsin

By SAM GROBART

Published: December 29, 2010

REPRINTS

Your gadgets and computers, your software and sites — they are not working as well as they should. You need to make some tweaks.

But the tech industry has given you the impression that making adjustments is difficult and time-consuming. It is not.

And so below are 10 things to do to improve your technological life. They are easy and (mostly) free. Altogether, they should take about two hours; one involves calling your cable or phone company, so that figure is elastic. If you do them, those two hours will pay off handsomely in both increased free time and diminished anxiety and frustration. You can do it.

GET A SMARTPHONE Why: Because having immediate access to your e-mail, photos, calendars and address books, not to mention vast swaths of the Internet, makes life a little easier.

How: This does not have to be complicated. Upgrade your phone with your existing carrier; later, when you are an advanced beginner, you can start weighing the pluses and minuses of your carrier versus another. Using AT&T? Get a refurbished iPhone 3GS for $29. Verizon? Depending on what’s announced next week at the Consumer Electronics Show in Las Vegas, get its version of the iPhone, or a refurbished Droid Incredible for $100. Sprint? Either the LG Optimus S or the Samsung Transform are decent Android phones that cost $50. T-Mobile users can get the free LG Optimus T.

STOP USING INTERNET EXPLORER Why: Because, while the latest version has some real improvements, Internet Explorer is large, bloated with features and an example of old-style Microsoft excess.

How: Switch to either Mozilla Firefox or Google Chrome. Both are first-rate, speedy browsers, and both are free. It remains a tight race between the two, but Chrome has had the lead lately in features and performance. Both browsers include useful things like bookmark syncing. That means that your bookmarks folder will be the same on every computer using Chrome or Firefox, and will update if you change anything.

UPLOAD YOUR PHOTOS TO THE CLOUD Why: Because you’ll be really sorry if an errant cup of coffee makes its way onto your PC, wiping away years of photographic memories. Creating copies of your digital photos on an online service is a painless way to ensure they’ll be around no matter what happens to your PC. It is also an easy way to share the photos with friends and family.

How: There are many good, free choices. To keep things simple, use Picasa, Google’s service. After your initial upload — which may take a while, so set it up before you go to sleep — you will have a full backup of your photo library. And by inviting people to view it, privately, with passwords, you will not have to e-mail photos anymore. Anytime you have new pictures, upload them to Picasa, send a message to your subscribers, and they can view your gallery at their leisure.

GET MUSIC OFF YOUR COMPUTER Why: Because music bought digitally wants to be freed, not imprisoned in your portable player or laptop. It wants to be sent around the home, filling rooms like good old-fashioned hi-fi.

How: Using iTunes for your digital music? Buy Apple’s Airport Express for $99 and connect it to your stereo. When you play music on your computer, you can stream it to the Express and, therefore, your stereo’s speakers. Have an iPhone, iPod Touch or iPad? Download Apple’s free Remote app and you will be able to control your music from anywhere in the house.

BACK UP YOUR DATA Why: Because photos are not the only important things on your computer. With online backup services, you do not have to buy any equipment; you just install software, which sits on secure servers and runs in the background, regularly updating a mirror image of all your files while you spend time on more important things, like confirming that Ben Gazzara really was the bad guy in “Road House” (he was).

How: Go to sosonlinebackup.com. Pay $80 a year. Install the software. Sleep easy.

SET UP A FREE FILE-SHARING SERVICE Why: Because while e-mailing yourself files is a perfectly decent workaround, there are easier, more elegant ways to move files around — and they do not cost anything, either.

How: Go to dropbox.com and set up a free account. You will then get an icon that sits on your desktop. Drag and drop files onto that icon, and they are immediately copied to the cloud. The free account gives you up to two gigabytes of disk space; 50- and 100-gigabyte are also available, but they cost $10 or $20 a month.

Set up your account on all your other computers, and they all have the access to the same files. You can set up shared, private and public folders, and apps for iPhone, iPad, BlackBerry and Android mean you can gain access to shared files from anywhere.

GET FREE ANTIVIRUS SOFTWARE Why: Because attacks on unwitting users are more widespread and tactics are growing more advanced.

How: Windows users should download Avast Free Antivirus. Mac users can downloadiAntiVirus Free Edition. Both applications will provide a basic level of security against a variety of so-called malware. And they cost zero.

GET A BETTER DEAL FROM YOUR CABLE, PHONE AND INTERNET PROVIDER Why: Because it does not take much to get them to give you free (or cheaper) services. These companies are generally indifferent to customer needs, but they are quick to cough up discounts — if you ask.

How: Just call and ask — they will probably give you something. Other tactics: Measure your Internet speed, using dslreports.com/speedtest; if it is less than what you are paying for, ask for a free upgrade. Or ask to speak to the cancellation department. That usually scares them.

BUY A LOT OF CHARGING CABLES Why: Because you should never have a gadget’s battery die on you, and they are cheap. Smartphone user? Have a charging cable at the office, one in the car, and a couple at home. Laptops? Have enough chargers in the house, so you are not tethered to the den when the power runs low.

How: eBay. Search for what you need with terms like “original” or “oem” (original equipment manufacturer). You will often see accessories for as little as one-tenth their normal retail price. Buy them by the gross.

CALIBRATE YOUR HDTV Why: Because that awesome 1080p plasma or LCD TV you bought has factory settings for color, brightness, contrast and so forth that are likely to be out of whack. They need to be adjusted.

How: Order Spears and Munsil High Definition Benchmark: Blu-ray Edition, a DVD, for $25. Its regimen of tests and patterns will help you adjust your TV’s settings to more natural levels. After you use it, you may want to fine-tune the TV some more, but you can do so knowing you are getting the most out of your display.

This article has been revised to reflect the following correction:

Correction: December 31, 2010

An earlier version of this article provided an incorrect URL for sosonlinebackup.com.

A version of this article appeared in print on December 30, 2010, on page B7 of the New York edition.

Por un 2011 más y más ecológico

Landscapes and Still Lifes of New Territories

Museum of Modern Art, Estate of Pablo Picasso/Artists Rights Society (ARS), New York

Picasso’s robust and witty “Green Still Life” (1914) hangs at the Modern. More Photos »

By ROBERTA SMITH

Published: December 30, 2010

REPRINTS

FAVORITE paintings in New York museums? You don’t have to be an art critic to have a few, or a few dozen. Winnowing these treasures down to five — the assignment here for three critics for The New York Times — is a pleasant, invigorating yet implicitly arbitrary endeavor. The resulting lists can only be characterized conditionally, as personal, partial or provisional.

Multimedia

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Admiring Miró

Perfect Poise, Pulled From Jaws of Distortion (December 31, 2010)
Overlooked Works That Deserve Another Glance (December 31, 2010)

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All told the city offers one of the world’s great accounts of the medium. The paintings selected here range from Giovanni Bellini’s “St. Francis in the Desert,” from 1480, in the Frick Collection to “Do the Dance,” from 2005, by Elizabeth Murray in the Museum of Modern Art. (The choices are on Pages 26 through 28.)

Paintings, like poetry or music, are essential nutrients that help people sustain healthy lives. They’re not recreational pleasures or sidelines. They are tools that help us grasp the diversity of the world and its history, and explore the emotional capacities with which we navigate that world. They illuminate, they humble, they nurture, they inspire. They teach us to use our eyes and to know ourselves by knowing others.

If New York’s legions of irresistible paintings could sing, these hills would be magnificently alive with the sound of their music.

‘GREEN STILL LIFE,’ BY PICASSO, MUSEUM OF MODERN ART One requisite for “favorite painting” status would seem to be an irrational, mood-boosting thrill each time you see it. Even by that standard my soft spot for this popular Synthetic Cubist Picasso is especially spongy.

I looked at it regularly before I had any inking of Picasso, Cubism or the Museum of Modern Art (which received it as a bequest from one of its founders, Lillie P. Bliss, in 1934). Or at least I looked at a handsome, possibly full-size reproduction, stylishly framed in white, that hung in my parents’ house in Lawrence, Kan. The facsimile even hinted at, I think, some of the bumpiness fanning out from the white, darkly shadowed compote dish that is one of its central elements. Its reworked roughness could be signs of an earlier composition painted over. Still, Picasso made the best of it, eventually reinforcing the turbulence with radiating dashes of color that first scale the neck of the wine bottle that is the compote’s consort and then scatter beyond.

Picasso painted “Green Still Life” in the summer of 1914 in Avignon, after ushering the interlocking planes of his Analytic Cubist paintings into robust three dimensions with his various guitar sculptures. Robustness prevails here too, in the solid, flat green field that is about as close as Picasso gets to the modernist monochrome. It can be read as a response to Matisse’s “Red Studio” of 1911, especially as it hangs just a few galleries away at the Modern.

But in the main, “Green Still Life” shows Picasso relaxing into Synthetic Cubism’s flirtier, simpler compositions, brighter colors and Pointillist dots, which in this case intimate table runners and a spider web catching the yellow light. The letters J O U, a Cubist staple, are further away from “Journal” (French for newspaper) and closer to “jouer” (to play) or “jou-jou” (child’s toy) than ever. Fancifully shaped and stippled in black and white, they actually seem carved into a little block.

Other visual witticisms include the outline of a pear that contains a bit of lovingly exact pear flesh, a large bristling orb that might be a pineapple or artichoke, a cut-glass vessel and a hand wrapped around a grenade. It is the summer of 1914; World War I is just getting under way.

‘HEAT,’ BY FLORINE STETTHEIMER, BROOKLYN MUSEUM The Brooklyn Museum has the city’s best painting by the eccentric if thoroughly modern Florine Stettheimer, a greater artist than Georgia O’Keeffe. It is “Heat” (1919), a smoldering flaglike field of wide bands of orange, deep yellow and olive green dotted with the figures of Stettheimer, her sisters Ettie, Carrie and Stella and their revered mother, Rosetta. It was painted in 1919, the year Stettheimer turned 48 and was at the peak of her strange powers as an artist.

These powers revolved around an unwavering faith in saturated color laid on thickly, and a slightly wicked gift for caricature. Perched on the steeply banked color bands, the women are arrayed in a circle. In the foreground is a lighted birthday cake set on a table whose oval top is one of the few concessions to spatial recession, although the foreshortening mainly serves to fuse cake and tabletop into a very large eye that adds to the painting’s mesmerizing power. The Stettheimers are enduring the summer heat in different ways, while also enacting varying states of consciousness: limp collapse, wakening, sitting up and finally conversing with Mama, who wears head-to-toe Victorian black and appears to be fully alert. A kind of life cycle, perhaps, with death at the top.

Private wealth ensured Florine Stettheimer a genteel, uncompromised life. She declined to have solo shows during her lifetime (despite the enthusiasm of artist friends like Marcel Duchamp and Hilla Rebay and the critic Henry McBride). She disliked selling her work. The capsule about “Heat” on the Brooklyn Museum’s Web site begins with her observation that “letting people have your paintings is like letting them wear your clothes.” This statement hints at something of the iron butterfly that you sense in the merciless color and tactility of “Heat,” not to mention the suggestion of an inverted, probably male torso in the black tree visible in the background.

One indication of a painting’s staying power is its ability to function like a two-sided mirror, showing parts of both the past and future of painting side by side. “Heat” looks back to the languid fetes of Watteau (as the art historian Barbara Bloemink has pointed out) and the solid colors of the Italian primitives, and forward to two artists rarely mentioned in the same sentence: Mark Rothko and Tim Burton.

‘MORNING IN THE VILLAGE AFTER SNOWSTORM,’ BY MALEVICH, GUGGENHEIM MUSEUM Like so many works from the 1910s Malevich’s “Morning in the Village After Snowstorm” (1912) hovers deliciously between abstraction and representation, object and image, imagined and perceived.

Within two years of assembling this gleaming, scalloped vortex of snow drifts, peasants, houses and trees, Malevich would bring forth what is generally considered Western painting’s first pure abstraction, the first of his “Black Square” compositions, which he set against a field of white and described as a “full void.” In the Guggenheim painting we sense the fullness of his mystical void as an approaching whiteout, a kind of blazing light that threatens to burn away image. Strictly speaking, this would leave us with something closer to his “Suprematist Composition: White on White” of 1918, the tilting kitelike square of cool white on a slightly warmer white ground in the Museum of Modern Art.

In the meantime “Morning” ravishes the eye with its sparkling facets of red, blue, black and tan, shaded to white. The gaze moves through the scene like an icebreaker. The forms heave to either side, nearly filling the available space but leaving a narrow path to a tiny figure pulling a sled in the distance. One-point perspective and the Renaissance notion of the picture plane as a window are bid fond farewell.

Among the crowning achievements of that marvelous Russian mongrel Cubo-Futurism, “Morning” has Malevich both scaling up and calming down Cézanne’s anxious cylinders, spheres and especially cones to the point of majesty. Malevich then enlists them to render country life as he knew it from his childhood, a return to roots that proved similarly effective for other early modernist painters, including Kandinsky, Gabriele Münter, Chagall and, as we shall see, Miró.

The smoothness of Malevich’s paint application adds to the forms’ metallic sheen. We are in the world of Dorothy’s Tin Man, a realm in which, if you cast the mind forward a bit, you can imagine both the metal Minimalist boxes of Donald Judd and the fluorescent glow of Dan Flavin’s light installations.

‘VINES AND OLIVE TREES, TARRAGONA,’ BY MIRó, METROPOLITAN MUSEUM OF ART Before Miró cut loose with his well-known improvisations of balloon forms, raw, washy colors and meandering automatist lines, he was a wonderfully fussy painter. His strength lay in tightening and tweaking reality a little beyond the real, creating a sharp and exacting artifice that brought the decorative, the abstract and the natural into perfect harmony. “Vines and Olive Trees, Tarragona” was painted in 1919, the year before Miró left Barcelona for Paris. Although he was certainly no stranger to the latest modernist styles, it shows him considering them at a remove in a sequence of contrasting landscape treatments that celebrates nature’s bounty.

Miró’s subject is the countryside near Tarragona, Spain, south of Barcelona and not far from his parents’ farm in Montroig, terrain he knew well and clearly loved. The composition proceeds like a succession of stage flats, different yet connected, beginning with the parallel bands of sun-baked furrows running across the bottom of the picture, where young vines are cradled in freshly dug, impossibly consistent holes. Their feathery leaves are attached to twigs of a calligraphic angularity that brings to mind wrought iron.

In the next tier — or field — the furrows pivot toward the horizon, but they don’t get far. Instead they erupt into accordionlike pleats, with locked-together edges that are alternately jagged or curvaceous (and anticipate Matisse’s cutouts) and flat, bright colors of blue-green, dark pink and yellow, a kind of naturalized version of the primary colors.

A series of tilting geometric shapes — studded with the Pointillist dots of Synthetic Cubism — follows, suggesting village roofs. Then, with the dots continuing, and accompanied by spike-leafed plants suggesting yuccas, the olive trees start up. Their cotton-ball shapes blend into a level, oceanlike mass on the left, while on the right, a single tree rises above all else, its sinuous branches and leaves performing a kind of fan dance that causes other trees to follow suit into the distance.

Finally, at the farthest reaches of the painting, a soft, lavender of mountains is visible in the haze, a parting tribute to Impressionism. This gentle fade makes you all the more aware of the carefully orchestrated cacophony that has brought you there. Now nearly 100 years old, this work is a relative newcomer to the ranks of New York’s painting gems, having arrived at the Met as part of the Gelman Collection in 1998. Welcome.

‘DO THE DANCE,’ BY ELIZABETH MURRAY, MUSEUM OF MODERN ARTElizabeth Murray’s “Do the Dance” is a late painting, made in 2005 after she had received the diagnosis of the brain cancer that would kill her two years hence, at 66. Made of five separate shaped canvases that create the illusion of scores of individual smaller canvases percolating momentarily into a rectangular cluster, it is obliquely autobiographical, as all convincing art probably must be to some extent. Most of Murray’s paintings can be read as tallies of both the private emotions and events of her life and of the visual sources that fed her art throughout her career. Her vocabulary was built on elements from the work of Braque, Picasso, Miró and Malevich, as well as Jim Nutt and R. Crumb.

Like my other choices here “Do the Dance” operates in the lavishly appointed gap between the actual and the abstract. In its lower-left corner we see a character familiar from earlier Murrays — a rubbery Gumby figure whose limbs stretch into ribbonlike extensions. This figure is now apparently the patient, attached to a light-green IV, lying on white and yellow sheets whose red-flecked patterns discreetly evoke blood. Near its head a small four-pronged shape resembles a rubber glove, yet its cartoony, splatlike silhouette is one that recurs throughout Murray’s art, as spilled coffee, for example. (The hospital, like everywhere else, seems to have brimmed with expressive potential for her.)

Just above the brown figure a series of white round canvases connected by a blue laddered line that might be a spinal column or a sutured incision implies another figure. This one’s head is crisscrossed with red lines and attached to an oxygen tube. On the right half of the painting two baggy, biomorphic shapes — one yellow, one lavender — occupy their own irregular canvases; they form a couple struggling to stay connected while closely resembling examples of Murray’s earlier work. So does an undulant cloud of purple-brown, punctuated by a white dotted line. Other irregular, bulbous lines snake and coil among and around these larger shapes, suggesting tubes, wiring or cords of synaptic nodes.

At the bottom of it all, in the form of a long blue squiggle, lie the waters of Manhattan. “Do the Dance,” Murray tells us, when the end is near. The dance is life. And life, for her, was painting.

A version of this article appeared in print on December 31, 2010, on page C27 of the New York edition
.

Russian Judge Extends Term for Tycoon by 6 Years

Denis Sinyakov/Reuters

Mikhail B. Khodorkovsky was sentenced on embezzlement charges on Thursday in Moscow.

By CLIFFORD J. LEVY

Published: December 30, 2010

REPRINTS

MOSCOW — A judge on Thursday sentenced Mikhail B. Khodorkovsky, the Russian tycoon who was imprisoned in 2003 after defying Vladimir V. Putin, to an additional six years. It was a politically tinged decision that undermined President Dmitri A. Medvedev, who has vowed to revitalize the country’s deeply troubled legal system.

Mr. Khodorkovsky’s supporters had asked Mr. Medvedev to intervene in the case, which has reinforced widespread concerns that the Russian authorities readily manipulate law enforcement and the judiciary for political purposes. But Mr. Medvedev refused, and Mr. Khodorkovsky’s second trial on embezzlement charges — his current sentence ran to 2011 — appeared to end as it began: as a symbol of Mr. Medvedev’s inability to make significant progress on his pledges.

“I expected a guilty verdict, but I didn’t expect such a tough sentence,” said Leonid Y. Gozman, co-chairman of Right Cause, a liberal party with close ties to the Kremlin. “This is shocking. It was obviously a political, not a judicial, decision. A verdict this harsh is going to resonate and be perceived very negatively for Medvedev, and for what he has been trying to accomplish.”

While the Khodorkovsky trial has attracted worldwide attention, the everyday failings in the Russian legal system are pervasive. Nearly two decades after the collapse of Communism, corruption is endemic, government power is often abused and senior politicians are rarely, if ever, held accountable for misdeeds. A series of murders of well-known human rights advocates and journalists have gone unsolved, even as critics of the government are prosecuted.

Yet, with most of the news media cowed by official pressure, and opposition groups largely suppressed, people are skeptical about the possibility of attaining redress, whether through Parliament, the press or the courts.

Mr. Medvedev has conceded that the country is plagued by “legal nihilism,” but Mr. Putin has seemed less bothered. In fact, the new sentence for Mr. Khodorkovsky — which will keep him in prison until 2017 — was considered an unambiguous signal that Mr. Putin, now prime minister, remains in control of the country in advance of a presidential election in 2012, which he might enter.

Mr. Putin, who was president from 2000 to 2008, has repeatedly declared that Mr. Khodorkovsky, 47, is nothing more than a violent criminal who deserves his confinement in a Siberian prison. Mr. Khodorkovsky’s lawyers maintain that the charges against him were fabricated and that he is being persecuted for challenging Mr. Putin by daring to finance opposition political parties.

On Thursday, Mr. Khodorkovsky smiled wanly from behind a glass enclosure as the judge, Viktor Danilkin, handed down the sentence, a scene shown in a video feed from the proceedings in Moscow. His mother, Marina, who was in the courtroom, shouted at the judge, “Damn you and your descendants!”

The judge, who earlier this week found Mr. Khodorkovsky guilty of embezzling billions of dollars worth of oil from his own conglomerate, said Mr. Khodorkovsky could be reformed only through “isolation from society.” Mr. Khodorkovsky, once the country’s richest man, is already serving an eight-year sentence on an earlier conviction that ends in 2011, right before the next presidential election.

The judge made it clear that he agreed with prosecutors that Mr. Khodorkovsky deserved the maximum penalty of 14 years. The new term will be dated from his arrest in 2003, which means that he would be released in 2017. As a result, the new sentence amounts to six years.

Mr. Khodorkovsky’s co-defendant and business partner, Platon L. Lebedev, received a similar sentence. “Platon Lebedev and I have shown by example that you cannot count on the courts to protect you from government officials in Russia,” Mr. Khodorkovsky said in a statement released by his lawyers.

Neither Mr. Putin nor Mr. Medvedev offered any immediate reaction to the sentencing, and it appeared that the Kremlin was determined not to spotlight it. The main news program on the state television channel on Thursday night featured a ceremony at the Kremlin where Mr. Medvedev handed out state honors. Only well into the program was Mr. Khodorkovsky’s sentencing mentioned.

Foreign governments, though, quickly issued statements critical of the sentence, saying it damaged confidence in Russia’s judicial system and sent a warning to foreign investors.

“The impression remains that political motives played a role in this process,” said the German chancellor, Angela Merkel, who is one of the Kremlin’s strongest allies in the West. “This contradicts Russia’s repeatedly expressed intention to follow the path toward a full rule of law.”

In Washington, the State Department repeated a White House comment from this week, condemning what it referred to as “an abusive use of the legal system for improper ends.”

The Russian Foreign Ministry has rejected such criticism, saying that Mr. Khodorkovsky was accused of crimes that would be severely punished in any country. The ministry bluntly added, “We hope that everyone will mind his own business — at home and internationally.”

On Thursday night, most ruling party politicians followed the Kremlin’s lead and avoided commenting on Mr. Khodorkovsky. But a member of Parliament from Mr. Putin’s United Russia party, Yevgeny A. Fedorov, told Echo of Moscow radio that the case actually demonstrated the integrity of Russia’s court system.

“This shows that any lawbreaker, whether the richest man in the country or a member of Parliament or a bureaucrat, will be prosecuted,” he said.

Political experts here said the fate of Mr. Khodorkovsky had been intertwined with jockeying before the 2012 election. They said Mr. Putin did not want Mr. Khodorkovsky released before then, and also wanted to ensure that other wealthy businessmen understood that they should not interfere in politics.

Mr. Putin, who served two terms as president before being barred by the Constitution from a third consecutive one, is considering a candidacy in 2012. He and his protégé, Mr. Medvedev, who rule as a tandem, have said they will decide between themselves who will run, and will not compete against each other.

Mr. Khodorkovsky earned his fortune in the oil industry in the 1990s after the collapse of the Soviet Union, when a generation of entrepreneurs scooped up government assets at a fraction of their worth. Even his supporters acknowledge that he may have committed some white-collar crimes back then, but they insist that he was no different from scores of other so-called oligarchs during a chaotic era. (Mr. Putin has said Mr. Khodorkovsky’s associates killed many people to advance his interests.)

Mr. Khodorkovsky’s supporters said that he was prosecuted because he became politically active, in the early part of this decade, and rebuffed warnings from Mr. Putin and his aides to not disobey the Kremlin.

By the time he was arrested in 2003, Mr. Khodorkovsky had been seeking to refashion his image, saying that his business dealings would be as transparent as any in the West and calling for a more progressive government. He was convicted of tax fraud in 2005. In the current case, he was accused of stealing $27 billion in oil from his conglomerate through accounting schemes that prosecutors said were missed by auditors. His lawyers called the new charges absurd.