МАЙСТЕРНЯ ХУДОЖНЬОГО СЛОВА: ПОШУКИ ПІДТЕКСТУ В АВТОРСЬКОМУ ТЕКСТІ

The author, guided by her own experience, reveals the essence of phenomena "subtext" as a creative processof a stage speech teacher and novice actor cooperation. Using the literary works of Ukrainian authors as an example sheproves that revealing the hidden meanings of composition by the artist depends on his educational and intellectual level,imagination, fantasy, intuition, and associative thinking. The author argues that the work on the implication developslogical thinking and tonal expressiveness of the actor.The attempt to consider the subtext as a phenomenon is based on the researches of linguists, philologists,psychologists, Ukrainian playwrights, directors, actors, critics and teachers. Obtained after detailed study of all these sources data was used to form the structure of our exploration.The article contains the process of hard and long work on composition. During the cognition of authorship workthe main objectives are to identify themes, ideas, plot, story, composition, nature of the conflict, genre. Penetration intothe language structure of the text, gives the opportunity to understand the author's intent. After a detailed analysis, theactor begins the work on its implementation, that provides a logical and effective analyses, definition of objectives, whichstimulates creative thought, creative activity, and this the manifestation of his life position. At this stage the performerpenetrates into the essence of the text, experiences described by the author events, fills them with his personal attitudes,concepts as the figurative views, that would help in revealing the subtext.The study fully describes the characteristics of an actor's work implication in the process of artistic expression of theauthor's text. The author of the article proves that the subtext is a good way for actor to strengthen the semantic colouring of thework. In addition, the subtexts, as internal agents, are forced to pronounce the text and cause by the need to act in a word, helphim discover the essence of the work. It is vital to note here that the work with the subtexts develops logical thinking andintonational expressiveness of the actor. The subtext is expressed by the intonations, in the subtlest of rhythm-the melodic andthe tonal nuances of speech, eloquence psychological pauses in the expression and the gleam in his eyes, MMI the gamefaces, gestures, tempo of speech. Subtext and evaluation in such circumstances is born by themselves.The study highlights and explains the difference in meaning of "subtext" for the author of the artwork and actor.For the author of an artistic work, the subtext is a good way to strengthen the semantic colouring works. With its help hemanages to more deeply convey sadness or joy, the absurdity of a given situation, to express derision, irony. The authorof the article focuses on the challenges facing the actor in the work: to find out the true meaning of the author in the textand convey that meaning using existing creative tools, to fill his personal attitude and evaluation. It means not to acceptthe views expressed in the text of thoughts and feelings in a ready form, but to rethink them, to endure, to survive.Extremely important is the actor's ability to reach deep ideological and psychological understanding of the author, all ofthe artistic features and characteristics of the work, in order to convey this to the audience. The text will remain dead untilthe actor brings to life its contents in my mind.However, the only imagination is not enough, the actor must make the language of the characters as his ownlanguage. The author of the study emphasizes the need for a beginning actor to learn to be observant in life: in appreciation of works of art, of reality; to remember exciting details in nature, in life, in relationships people, to try to seethem with inner vision. Unsaid in the text of the author's thoughts should be supplemented by pictures and details thatdraws their own imagination. Such searches of the author's text subtext attain a lively sound: verbal, tonal, plastic.Examples of literary works of Ukrainian authors (the poem "Good people" Puchica S., excerpt from "Four fords".Stelmakh) argue that the revealing of subtext of the artwork by the actor depends on their educational and intellectuallevel, imagination, fantasy, intuition and associative thinking.Particular attention is focused on the main task of the actor in the text – to reveal the nature and psychologicalnature of every detail. In addition, the description of a novice actor work on creative imagination plays an important rolein the article, as important express means of the illustrated subtext.It should be noted that in the disclosure of the subtext the significant place is given to the imagination, as it applies actor's emotional attitude to the events.On the basis of their own theoretical and practical knowledge, the author argues that the way to reveal thesubtext is through the accumulation and reinterpretation of visions, and also through the line of relations and values,which are manifested in the intonational expressiveness of actor's voice. It is the intonation that affects the listener, theactor is seeking a positive reaction – understanding of the work by the listener. The implementation of the relevantexisting tasks allows the actor to feel the same when the structure of the phrase will change logical melody, and with itthe intonation of speech.During the research the author claims that only with the professional analysis of the author's text and deep penetration into the inner essence of the words – the subtext, the actor will fill the artwork with life, truth, illustrated byvivid visions, which he at the time of stage performances will generously share with the listener.В статье автор, используя собственный опыт работы, раскрывает сущность явления "подтекст" как творческого процесса сотрудничества педагога сценического слова и начинающего актера. На примерах литературных произведений украинских авторов доказывает, что раскрытие подтекста исполнителем художественногопроизведения зависит от его образовательного и интеллектуального уровня, воображения, фантазии, интуиции,ассоциативного мышления. Автор утверждает, что работа над подтекстами развивает логическое мышление иинтонационную выразительность актера.У статті автор, використовуючи власний досвід роботи, розкриває сутність явища "підтекст" як творчогопроцесу співпраці педагога сценічного слова та актора-початківця. На прикладах літературних творів українськихавторів доводить, що розкриття підтексту виконавцем художнього твору залежить від його освітнього та інтелектуального рівня, уяви, фантазії, інтуїції, асоціативного мислення. Автор стверджує, що робота над підтекстамирозвиває логічне мислення та інтонаційну виразність актора

The Biomolecular Interaction Network Database and related tools 2005 update

The Biomolecular Interaction Network Database (BIND) (http://bind.ca) archives biomolecular interaction, reaction, complex and pathway information. Our aim is to curate the details about molecular interactions that arise from published experimental research and to provide this information, as well as tools to enable data analysis, freely to researchers worldwide. BIND data are curated into a comprehensive machine-readable archive of computable information and provides users with methods to discover interactions and molecular mechanisms. BIND has worked to develop new methods for visualization that amplify the underlying annotation of genes and proteins to facilitate the study of molecular interaction networks. BIND has maintained an open database policy since its inception in 1999. Data growth has proceeded at a tremendous rate, approaching over 100 000 records. New services provided include a new BIND Query and Submission interface, a Standard Object Access Protocol service and the Small Molecule Interaction Database (http://smid.blueprint.org) that allows users to determine probable small molecule binding sites of new sequences and examine conserved binding residues

Intraoperative transfusion practices in Europe

BACKGROUND: Transfusion of allogeneic blood influences outcome after surgery. Despite widespread availability of transfusion guidelines, transfusion practices might vary among physicians, departments, hospitals and countries. Our aim was to determine the amount of packed red blood cells (pRBC) and blood products transfused intraoperatively, and to describe factors determining transfusion throughout Europe. METHODS: We did a prospective observational cohort study enrolling 5803 patients in 126 European centres that received at least one pRBC unit intraoperatively, during a continuous three month period in 2013. RESULTS: The overall intraoperative transfusion rate was 1.8%; 59% of transfusions were at least partially initiated as a result of a physiological transfusion trigger- mostly because of hypotension (55.4%) and/or tachycardia (30.7%). Haemoglobin (Hb)- based transfusion trigger alone initiated only 8.5% of transfusions. The Hb concentration [mean (sd)] just before transfusion was 8.1 (1.7) g dl(-1) and increased to 9.8 (1.8) g dl(-1) after transfusion. The mean number of intraoperatively transfused pRBC units was 2.5 (2.7) units (median 2). CONCLUSION: Although European Society of Anaesthesiology transfusion guidelines are moderately implemented in Europe with respect to Hb threshold for transfusion (7-9 g dl(-1)), there is still an urgent need for further educational efforts that focus on the number of pRBC units to be transfused at this threshold. CLINICAL TRIAL REGISTRATION: NCT 01604083

Development and validation of a score to predict postoperative respiratory failure in a multicentre European cohort : A prospective, observational study

BACKGROUND Postoperative respiratory failure (PRF) is the most frequent respiratory complication following surgery. OBJECTIVE The objective of this study was to build a clinically useful predictive model for the development of PRF. DESIGN A prospective observational study of a multicentre cohort. SETTING Sixty-three hospitals across Europe. PATIENTS Patients undergoing any surgical procedure under general or regional anaesthesia during 7-day recruitment periods. MAIN OUTCOME MEASURES Development of PRF within 5 days of surgery. PRF was defined by a partial pressure of oxygen in arterial blood (PaO2) less than 8 kPa or new onset oxyhaemoglobin saturation measured by pulse oximetry (SpO(2)) less than 90% whilst breathing room air that required conventional oxygen therapy, noninvasive or invasive mechanical ventilation. RESULTS PRF developed in 224 patients (4.2% of the 5384 patients studied). In-hospital mortality [95% confidence interval (95% CI)] was higher in patients who developed PRF [10.3% (6.3 to 14.3) vs. 0.4% (0.2 to 0.6)]. Regression modelling identified a predictive PRF score that includes seven independent risk factors: low preoperative SpO(2); at least one preoperative respiratory symptom; preoperative chronic liver disease; history of congestive heart failure; open intrathoracic or upper abdominal surgery; surgical procedure lasting at least 2 h; and emergency surgery. The area under the receiver operating characteristic curve (c-statistic) was 0.82 (95% CI 0.79 to 0.85) and the Hosmer-Lemeshow goodness-of-fit statistic was 7.08 (P = 0.253). CONCLUSION A risk score based on seven objective, easily assessed factors was able to predict which patients would develop PRF. The score could potentially facilitate preoperative risk assessment and management and provide a basis for testing interventions to improve outcomes. The study was registered at ClinicalTrials.gov (identifier NCT01346709)

Intraoperative transfusion practices and perioperative outcome in the European elderly: A secondary analysis of the observational ETPOS study

The demographic development suggests a dramatic growth in the number of elderly patients undergoing surgery in Europe. Most red blood cell transfusions (RBCT) are administered to older people, but little is known about perioperative transfusion practices in this population. In this secondary analysis of the prospective observational multicentre European Transfusion Practice and Outcome Study (ETPOS), we specifically evaluated intraoperative transfusion practices and the related outcomes of 3149 patients aged 65 years and older. Enrolled patients underwent elective surgery in 123 European hospitals, received at least one RBCT intraoperatively and were followed up for 30 days maximum. The mean haemoglobin value at the beginning of surgery was 108 (21) g/l, 84 (15) g/l before transfusion and 101 (16) g/l at the end of surgery. A median of 2 [1–2] units of RBCT were administered. Mostly, more than one transfusion trigger was present, with physiological triggers being preeminent. We revealed a descriptive association between each intraoperatively administered RBCT and mortality and discharge respectively, within the first 10 postoperative days but not thereafter. In our unadjusted model the hazard ratio (HR) for mortality was 1.11 (95% CI: 1.08–1.15) and the HR for discharge was 0.78 (95% CI: 0.74–0.83). After adjustment for several variables, such as age, preoperative haemoglobin and blood loss, the HR for mortality was 1.10 (95% CI: 1.05–1.15) and HR for discharge was 0.82 (95% CI: 0.78–0.87). Preoperative anaemia in European elderly surgical patients is undertreated. Various triggers seem to support the decision for RBCT. A closer monitoring of elderly patients receiving intraoperative RBCT for the first 10 postoperative days might be justifiable. Further research on the causal relationship between RBCT and outcomes and on optimal transfusion strategies in the elderly population is warranted. A thorough analysis of different time periods within the first 30 postoperative days is recommended