Fracture-of the Calcaneum:

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Accidental hepatic artery ligation in humans

Despite the vast amount of information from experimental animals, it has been difficult to obtain a clear-cut picture of the effects of ligation of the hepatic artery in humans with relatively normal livers. The last complete review of this subject in 1933 indicated that a mortality in excess of 50 per cent could be expected in non-cirrhotic patients with injury of the hepatic artery or its principal branches. Five cases of dearterialization of the normal human liver have been observed. These were due to accidental interruption of the right hepatic artery in four and the proper hepatic artery in one. The injured vessel was repaired in one case and ligated in the others. In four of the five patients the vascular disruption was the sole injury. In the other the common bile duct was also lacerated. There was no evidence of hepatic necrosis in any case although one patient died from complications of common duct repair. Transient changes in SGOT and temporary low grade bilirubinemia were commonly noted. In addition, all cases of ligation of the hepatic artery reported since 1933 have been compiled. On the basis of reviewed, as well as the presently reported cases, it is concluded that ligation of the hepatic artery or one of its branches in the patient with relatively normal hepatic function is not ordinarily fatal in the otherwise uncomplicated case. Adequate perfusion of the liver can usually be provided by the remaining portal venous flow and whatever arterial collaterals are present, unless additional factors further reduce the portal venous flow or increase hepatic oxygen need. These factors include fever, shock and anoxia. The key to therapy in unreconstructed injuries to the hepatic artery is avoidance of these secondary influences. © 1964

Evaluating Auroral Forecasts Against Satellite Observations Under Different Levels of Geomagnetic Activity

The aurora and associated high energy particles and currents pose a space weather hazard to communication networks and ground-based infrastructure. Forecasting the location of the auroral oval forms an integral component of daily space weather operations. We evaluate a version of the OVATION-Prime 2013 auroral forecast model that was implemented for operational use at the UK Met Office Space Weather Operations Cent. Building on our earlier studies, we evaluate the ability of the OVATION-Prime 2013 model to predict the location of the auroral oval in all latitude and local time sectors under different levels of geomagnetic activity, defined by Kp. We compare the model predictions against auroral boundaries determined from IMAGE FUV data. Our analysis shows that the model performs well at predicting the equatorward extent of the auroral oval, particularly as the equatorward auroral boundary expands to lower latitudes for increasing Kp levels. The model performance is reduced in the high latitude region near the poleward auroral boundary, particularly in the nightside sectors where the model does not accurately capture the expansion and contraction of the polar cap as the open flux content of the magnetosphere changes. For increasing levels of geomagnetic activity (Kp ≥ 3), the performance of the model decreases, with the poleward edge of the auroral oval typically observed at lower latitudes than forecast. As such, the forecast poleward edge of the auroral oval is less reliable during more active and hazardous intervals

Entre héritage et rupture : (in)visibilités sociales dans les fictions cinématographiques et télévisuelles britanniques des années 1990

The British movies of the 90s that refer to the country's cultural and historical heritage can be considered controversial. They are often given the critical term of "heritage movies" which means they are perceived as the conveyors of a highly conservative view of the country's glorious past tinged with nostalgia for the prewar social order contrasting with the existing situation. However, some critics claim that these films —mainly adaptations or historical fiction— suggest a progressive reinterpretation of the cultural heritage thus depicting all the aspects of society at the time and making them visible.The 90s in the United-Kingdom were a period of political transition from the Thatcherite social neo-conservatism to Tony Blair's concept of "Modern Society". Therefore, it is necessary to question the principle(s) of the representation of national identity conveyed by British on-screen fiction in the 90s. It implies reassessing the relevance of the term "lowbrow movie" that encompasses different film genres, in the light of new aesthetic readings against the social and political contextualization that this thesis examines.Les films britanniques des années 90 se rapportant au patrimoine culturel et l'histoire du pays sont sujets à controverse. Souvent classés sous la dénomination critique de « heritage movies », ils sont alors considérés comme les vecteurs d'une conception très conservatrice du glorieux passé du pays empreinte de nostalgie pour l'ordre social d'avant la Seconde Guerre mondiale par contraste à la situation existante. Cependant, certains critiques estiment que ces œuvres, principalement des adaptations et des fictions historiques, proposent une révision progressiste du patrimoine culturel qui représente toutes les facettes de la société contemporaine en les rendant visibles.Les années 90 au Royaume-Uni sont sur le plan politique une période de transition entre le néo-conservatisme social thatchérien et le concept de « société moderne » proposé par Tony Blair. Il convient alors de s'interroger sur quel(s) principe(s) repose l'identité nationale représentée au cinéma et à la télévision par les fictions britanniques d'alors. Cela supposera de réévaluer la pertinence de la dénomination de « lowbrow movie » au sein des différents genres cinématographiques auxquels peuvent appartenir ces créations à la lumière de nouvelles lectures esthétiques et d’une contextualisation sociale et politique

British Terraced Houses as the Home of British Multicultural Self?: Looking for the Third Space in Damien O’Donnell’s Movie East Is East (1999).

International audienceIn 1996, Ayub Khan-Din, the author of the play East Is East, and screenwriter of its film adaptation directed by Damien O’Donnell, claimed that his only goal was to depict his life as the son of a mixed-race family in a suburban town near Manchester in the 70s. However, the plot of his story, revolving around the need for the Khan children to belong to society, also chimes with some psychological investigations about the feelings of inclusion of mixed-race teenagers living in Great Britain conducted in the 1990s. Youth commonly used terms like “British-Asian” to define their nationality. It was interpreted as a sign of “hyphenated identity” trying both to preserve the core of their cultural migrant heritage and prevent discrimination in society. It also indicated how difficult it was for them to match pre-existing social models. Yet, the symbolic use of the hyphen is presented as a great opportunity by scholars who defend the idea that mixed cultures would create a “third space” destabilizing the fixed identities. The representation of the terraced house where the Khan family are living is particularly worth taking into consideration. It is interesting to see to what extent this traditional image is distorted in the movie and corresponds to a depoliticized representation of what a multicultural space should be, since working-class terraced houses are quite often associated with the top-down vision of social hierarchy in a conservative industrial society. Outdoor and indoor scenes transform the house into a microcosmic space where individual identities strive to literally find room to exist and challenge patriarchal authority. In that respect, the movie seems to be in tune with the New Labour’s concerns about recreating a sense of Britishness in the 1990s, advocating a multitude of ways of finding one’s place in society

Mend and Make-do: Making up for Past Hardships to Live Happily in the Present.

International audienceDespite its historically accurate setting, the British series Downton Abbey (2010-2016) seems to hinge on a cultural definition of happiness in tune with the perception of today’s audience, mixing people of different classes and sexual orientations and departing from the former conventions, as if warping past memory allowed the audience to be more content in the present. Interestingly, British mainstream movies, set in a more or less distant past, like Stephen Daldry’s Billy Elliot (2000), also lay down the principle that happiness is more an individual quest than a universal one as is shown in a comparison between Emma’s wedding scene in both an American and British screen adaptations of Jane Austen’s Emma released the very same year (1996). This presentation aims to defend the idea that British historical mainstream movies may be a kind of backdrop that allows every individual to reconsider their present situation positively