Doctor of Pharmacy

dissertationMoxalactam is a semi-synthetic beta-lactam antimicrobial agent currently undergoing Phase III clinical trials in human subjects. In vitro studies demonstrate that moxalactam is effective against most gram-positive and gram-negative organisms, except Streptococcus, Group D. The drug is excreted almost entirely by renal mechanisms. Moxalactam is 38-to-50% plasma protein bound, based on in vitro studies. the elimination half-life of moxalactam is two to three hours in patients with normal renal function, and 19 hours in patients with end-stage renal disease. No investigations thus far have determined the hemodialyzability of moxalactam. Pharmacokinetic data of moxalactam in renal failure patients are important not only to provide adequte dosage guidelines for therapeutic efficacy, but also to prevent potential dose-related neurologic, hematologic, and renal toxicities that have been reported with other cephalosporins. The purpose of this study was: 1.) To determine the pharmacokinetic parameters of moxalactam in patients with severe renal impairment undergoing hemodialysis therapy; 2.) To determine the effect of hemodialysis on the pharmacokinetic parameters; and 3.) To develop appropriate guidelines for dosing moxalactam in hemodialysis patients

The Engagement of Carel Fabritius's Goldfinch of 1654 With the Dutch Window, A Significant Site of Neighborhood Social Exchange

This article posits that Carel Fabritius’s illusionistic painting The Goldfinch, 1654, cleverly traded on the experience of a passerby standing on an actual neighborhood street before a household window. In daily discourse, the window functioned as a significant site of neighborhood social exchange and social control, which official neighborhood regulations mandated. I suggest that Fabritius’s panel engaged the window’s prominent role in two possible ways. First, the trompe l’oeil painting may have been affixed to the inner jamb of an actual street-side window, where goldfinches frequently perched in both paintings and in contemporary households. Second, at another point in time, The Goldfinch appears to have functioned as a hinged protective shutter attached to an interior painting of possibly a domestic scene. Together with the encased picture, Fabritius’s panel would have hung on a household wall. In such a capacity, The Goldfinch would have evoked the viewer’s inquisitiveness, as if he or she were a passerby on a neighborhood street before an actual domestic window with an alternatively open and closed shutter

The Economic Impacts of Aquatic Invasive Species: A Review of the Literature

Invasive species are a growing threat in the United States, causing losses in biodiversity, changes in ecosystems, and impacts on economic enterprises such as agriculture, fisheries, and international trade. The costs of preventing and controlling invasive species are not well understood or documented, but estimates indicate that the costs are quite high. The costs of aquatic invasive species are even less well understood than those for terrestrial species. A systematic approach is needed to develop a consistent method to estimate the national costs of aquatic invasives. This review of the economic literature on aquatic invasive species is the first stage in the development of that estimate. We reviewed over sixty sources and include both empirical papers that present cost estimates as well as theoretical papers on preventing and mitigating the impacts of aquatic invasive species. Species-specific estimates are included for both animals and plants.aquatic invasive species, costs, literature review, Resource /Energy Economics and Policy,

Glimpses, Glances and Gossip: Seventeenth-Century Dutch Paintings of Domestic Interiors on Their Neighbourhood’s Doorstep

Les études des peintures hollandaises du milieu du XVIIe siècle représentant des intérieurs domestiques se sont généralement concentrées sur les personnages et les activités du premier plan. Les portes et fenêtres ouvertes en arrière-plan, donnant sur des rues adjacentes, ne sont que mentionnées au passage comme représentant la ville ou le monde. Cet article met au contraire l’accent sur les vues donnant sur la rue à travers la lentille inexplorée du quartier néerlandais, qui constitue un réseau social et une organisation officielle avec des règlements, des membres mandatés, un contrôle social substantiel, de la camaraderie et un sentiment d’identité et de lieu. Veillant aux portes et fenêtres ouvertes sur la rue, les résidents se gardaient informés des activités et des nouvelles qui formaient le flux et le reflux des échanges sociaux dans le quartier et contribuaient à préserver l’honneur de la petite communauté. Dans leur évocation de personnages à côté de portes et de fenêtres ouvertes ou de mobiliers favorisant l’examen du quartier, ces peintures ont contribué à façonner, affirmer et perpétuer les moeurs des organisations officielles de quartier