Written by experienced and well-respected physicians and professors, this new all-color volume presents the ultrasonic topographical and pathotopographical anatomy of the body, including the head, neck, chest, anterolateral abdominal wall, abdominal organs, retroperitoneal space, male and female pelvises, and lower extremities.
Specific and non-specific ultrasonic symptoms are suggested for normal and abnormal developmental variants, diffuse and local pathotopographical anatomy. This color atlas contains comparative topographical and pathotopographical data and is the first manual of its kind for students and medical specialists in different areas, including those specializing in medical sonography. The original technology was tested at clinics in patients subjected to ultrasonic monitoring. Because of early detection there were no false-positive or false-negative results. The therapy was effective, and, in some cases, the use of the original method of “seagalography” (optometry and pulsemotorgraphy) has made it possible to develop new methods of treatment and/or to determine the optimal doses of drugs, as well as to develop effective drug complexes for treatment of a given pathology.
This important new volume will be valuable to physicians, junior physicians, medical residents, lecturers in medicine, and medical students alike, either as a textbook or as a reference. It is a must-have for any physician’s library.
The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.
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