bluuebunny/crossref_metadata_2025_split huggingface dataset:
Understanding Glycemic Variability
Authors: Purandare Vedavati Bharat , Bale Charan , Kakrani Arjun , Unnikrishnan Ambika Gopalakrishnan 
Published: September 2021

Purpose of Review:
Diabetic kidney disease (DKD) is the leading cause of end-stage renal disease globally. Hyperglycemia, hypertension, and family history are the traditional risk factors for the initiation and progression of DKD. Glycemic variability (GV) has also been considered as a risk factor for diabetes complications. Studies have already shown that GV increases the risk of macrovascular complications. The purpose of this review is to study the association of GV with DKD. Journal articles related to this topic were reviewed to get the data for this article.

Summary
In the setting of DKD, a higher GV has been observed. However, evidence to suggest GV as a risk factor for the development and progression of DKD is not sufficient. The data seem to suggest that the link between GV and diabetic microvascular complications has remained a hypothetical one, yet to be proven or disproven by appropriate studies. Randomized controlled trials using continuous glucose monitoring data will clarify the impact of GV and its management in DKD.
The Extent of Use of SGLT2 Inhibitors in Patients with Type 2 Diabetes in Clinical Practice
Authors: Gokalani Rutul , Panchal Dharmendra , Saboo Banshi , Zinzuwadia Padmanabh , Patel Dishank , Chaudhury Rupam , Chavda Vipul , Phatak Sanjeev , Prasad Renuka , Dariya S. S. , Shnakar Arun , Prajapati Ajay , Chudasama Dipak , Patel Nitesh 
Published: September 2021

Background and Aim:
The cost of diabetes complication management is always much higher than the cost of diabetes treatment, even with novel and expensive molecules available. Thus, it is better to halt complications in the initial phase of the disease, rather than just treating hyperglycemia. Sodium-glucose co-transporter-2 inhibitor (SGLT-2i) is marking a new era in the management of type 2 diabetes mellitus (T2DM), showing significant benefits for mortality, hospitalization due to heart failure, and renal complications. The usage of SGLT2 inhibitors in clinical practice is still low. The aim of our study to know the prevalence and reasons for not prescribing SGLT-2i among Indian diabetologists.

Materials and Methods:
A cross-sectional survey was conducted in 10 states of India from 15 March to 31 July 2019. The primary question was asked to a doctor for the next 20 new patients at the clinic, “Was the patient initiated with SGLT-2i treatment?” If it was “Yes” the patient was excluded and if the marked option was “No” then the reason was selected for not prescribing the drug.

Results:
Out of 1132 patients, 687 (60.69%) patients were not prescribed SGLT2 inhibitors. Among them, the main reason for not prescribing SGLT-2i was cost (41.45%), followed by catabolic state (19.62%).

Conclusion:
It was found that cost is the major reason for not prescribing SGLT2 inhibitors. In spite of promising glycemic and extra glycemic benefits, it is the need of an hour to increase awareness and abetting physicians to prescribe SGLT-2 inhibitors in all appropriate patients at early stage of the disease to prevent the complications and its higher expenditure at the later stage of the disease.
Knowledge, Practice, and Barriers Regarding Self-monitoring of Blood Glucose Among Patients with Type 2 Diabetes Mellitus in Enugu State, Nigeria
Authors: Anene-Okeke Chigozie Gloria , Mosanya Adaobi Uchenna , Osakwe Ogonna 
Published: September 2021

Aims:
Self-monitoring of blood glucose can improve treatment adherence and clinical outcomes. The aim of this study is to assess knowledge, practice, and barriers to self-monitoring of blood glucose (SMBG) among patients with type 2 diabetes mellitus (T2DM) in Enugu State, Nigeria.

Settings and Design:
This study was a cross-sectional survey of 340 patients with type 2 diabetes at the University of Nigeria Teaching Hospital (UNTH) and Enugu State University Teaching Hospital (Park Lane) in August 2017.

Materials and Methods:
The data collection tool was a 26-item, four-sectioned questionnaire: the socio-demographic and clinical characteristics, 11 items on knowledge, seven on practice, and eight on barriers regarding SMBG. The questionnaires were self-administered.

Statistical Analysis Used:
Data were analyzed using SPSS version 20. Descriptive, χ2, Spearman's correlation, and logistics regression statistics were reported at P < 0.05.

Results:
Majority of the patients were 46–55 years old (27.9%). Female respondents were 53.5%. Patients with good knowledge and practice were 35.9% and 46.2%, respectively. Knowledge of SMBG was negatively correlated to barrier against SMBG (r = -0.178, P=0.001) and positively correlated with practice of SMBG (r = 0.138, P=0.011). Those who were not taught SMBG were less likely to have good practice of SMBG than those who were taught (adjusted odd ratio 0.122, 95% confidence interval: 0.044–0.338).

Conclusions:
Patients with T2DM in Enugu State have poor knowledge and practice SMBG.
On the history of the Sverdlovsk branch of the URSSR Art Fund of the 1940s: the birth of the organization and the beginning of its work
Authors: Айнутдинов А.С. 
Published: September 2021

Изучение сохранившихся до наших дней архивных документов Свердловского отделения Оргкомитета Союза советских художников 1930–1940-х годов позволило реконструировать последовательность событий, связанных с возникновением и организацией работы местного представительства Художественного фонда СССР, чья деятельность до настоящего времени еще не находилась в поле зрения историков искусства. В статье рассматривается первое десятилетие существования этой организации в Свердловске, главной задачей которой, начиная с ее появления, являлась материальная и социальная поддержка творцов — художников и искусствоведов.
The study of the archival documents of the Sverdlovsk branch of the Organizing Committee of the Union of Soviet Artists of the 1930s and 1940s that have survived to this day allowed us to reconstruct the sequence of events related to the emergence and organization of the work of the local representative office of the USSR Art Fund, whose activities have not yet been in the field of art historians. The article examines the first decade of the existence of this organization in Sverdlovsk, the main task of which, since its appearance, was the material and social support of creators — artists and art historians.
Artist Nikolay Simonovsky: a new image of St. Petersburg
Authors: Коган Л.Д. 
Published: September 2021

Статья посвящена творчеству петербургского художника Н.Л. Симоновского, произведения которого находятся в известных государственных и частных собраниях. В основе методологии лежит комплексный подход: сочетание методов искусствоведения — иконологии, иконографии, герменевтики и формально-стилистического анализа. В центре внимания — рассмотрение петербургского урбанистического пейзажа в творчестве художника. Выявляется расширение образной характеристики петербургского пейзажа, где органично соединены противоположные начала, поэтическое и приземленно-бытовое. Таким образом, отмечается основное художественное завоевание Симоновского: продолжение и развитие темы поэтизации непоэтичного на примере пейзажного жанра.
The article is devoted to the work of the St. Petersburg artist Nikolay L. Simonovsky, whose works are in well-known public and private collections. The methodology is based on an integrated approach: a combination of methods of art history: iconology, iconography, hermeneutics and formal stylistic analysis. The focus is on examining the urban landscape of St. Petersburg in the artist's work. The expansion of the figurative characteristics of the Petersburg landscape is revealed, where opposite principles, poetic and mundane, are organically combined. Thus, the main artistic achievement of Simonovsky is noted: he poetizes the unethical in paintings in the landscape genre.
Folk arts and crafts of the Oirats of Mongolia: to the formulation of the problem of study
Authors: Батырева С.Г. 
Published: September 2021

Народное декоративно-прикладное творчество ойратов Монголии выражает этническую ментальность в системе культуры как своеобразную, во многом уникальную форму осмысления мира. Оно формирует традиционное мироощущение номадов, претворяемое в декоративном оформлении произведений прикладного творчества. Здесь фиксируются общее и этнические особенности народной эстетики, образного мировидения монгольских народов. В анализе орнаментального декора предметной среды важно исходить из знаковой сути культурного наследия номадов, концентрируемого в тамговом комплексе, народном костюме и орнаментике. В художественной форме пластического фольклора, передаваемого из поколения в поколение, сохраняются древние архетипы мышления предков, проецируемые во взаимосвязях духовного и материального бытия номадов. Выявление их дает возможность осмыслить декоративно-прикладное искусство ойратов Монголии в традициях, основополагающих для изучения пластического фольклора калмыков России.
Folk arts and crafts of the Oirats of Mongolia expresses the ethnic mentality of culture as a kind, in many ways a unique form of understanding the world. It forms the traditional attitude of the nomads, embodied in the decorative design of works of applied art. Here the general and ethnic features of the folk aesthetics, the figurative worldview of the Mongolian peoples are recorded. In the analysis of the ornamental decor of the subject environment, it is important to proceed from the symbolic essence of the cultural heritage of the nomads, concentrated in the tamga complex, folk costume and ornamentation. In the artistic form of plastic folklore, passed down from generation to generation, the ancient archetypes of the ancestors' thinking are preserved, projected in the interconnections of the spiritual and material life of the nomads. Their identification makes it possible to comprehend the decorative and applied art of the Oirats of Mongolia in the traditions that are fundamental for the study of the plastic folklore of the Kalmyks of Russia.
Creativity of the Mongolian artist D. Enkhtaivan: stages of formation, key elements of the creative method
Authors: Шишин М.Ю. 
Published: September 2021

В статье рассматривается творческий путь современного монгольского художника Данзанбалжира Энхтайвана, который смог достичь продуктивного синтеза лучших черт монгольской и российской школ искусства. Показано, что Энхтайван сумел воспринять от российской школы гуманизм, интерес к внутреннему миру личности, стремление к профессионализму и достижению высокой художественной выразительности. Монголия же дала ему бесконечное количество тем и идей. В эволюции его творческого метода заметно, что от плоскостной трактовки, от крупных пятен в колорите своих работ художник постепенно переходит к свободному мазку, к высокой пластической выразительности формы; но одновременно в повышенной цветовой интенсивности явно просматривается влияние монгольской школы с ее декоративностью и цветовой насыщенностью. Работы художника представлены в ведущих государственных музеях и частных галереях Монголии, Германии, Польши и других стран.
The article examines the creative path of the modern Mongolian artist Danzanbaljir Enkhtaivan, who was able to achieve a productive synthesis of the best features of the Mongolian and Russian schools of art. It is shown that Enkhtaivan was able to perceive humanism from the Russian school, interest in the inner world of the individual, the desire for professionalism and the achievement of high artistic expression. Mongolia, on the other hand, gave him an infinite number of topics and ideas. In the evolution of his creative method, it is noticeable that from a flat interpretation, from large spots in the color of his works, he gradually passes to a free brushstroke, to a high plastic expressiveness of form; but at the same time, the influence of the Mongolian school with its decorative effect and color saturation is clearly seen in the increased color intensity. The artist's works are presented in leading state museums and private galleries in Mongolia, Germany, Poland and other countries.
Acupuncture treatment for acute icteric hepatitis
Authors: Wan Xue Mei , Chen Jing , Zhang Tian Hong , Zhou Xue Lei 
Published: September 2021

Objective: To observe the clinical efficacy of acupuncture treatment for acute icteric hepatitis.
Method: Forty patients with acute icteric hepatitis were randomized into a treatment group and a control group (20 in each group). Oral liver-protecting medicine was administrated for the control group. In the treatment group, acupuncture with Yinlingquan-SP9, Yanglingquan-GB34, Zhusanli-ST36, Sanyinjiao-SP6, and Taichong-LR3 was added. The clinical efficacies and serum liver enzymes, including (TB, ALT, and GGT) were evaluated.
Result: The total effective rate was 94.7% in the treatment group and 85.0% in the control group respectively, which differed significantly different(P<0.05). The liver function indexes decreased significantly in both groups after treatment (P<0.01). The indicators of the treatment group were significantly lower than those of the control group after treatment (P<0.05).
Conclusion: Acupuncture combined with hepatoprotective drugs could be an effective method to treat acute jaundice hepatitis and showed better effectiveness than the single use of the conventional therapy.
TRADISI LISAN DAN PELANCONGAN DI MALAYSIA: SATU SARANAN
Authors: DAUD HARON 
Published: September 2021

Tradisi lisan mempunyai hubungan yang rapat dengan corak kehidupan, pemikiran dan kepercayaan masyarakat yang melahirkannya. Dalam konteks Malaysia didapati hubungan tradisi lisan dengan pelancongan seolah-olah dipisahkan oleh satu jurang yang dalam serta luas, dan dalam situasi antara hidup dan mati. Walau bagaimana pun, sekiranya tindakan awal diambil, kita masih belum terlambat untuk menyelamatkan tradisi lisan tersebut. Kajian berkaitan punca kepupusan dan langkah pemuliharaan tradisi lisan di Kelantan (Haron Daud, 2008, 222) mendapati sebilangan besar golongan muda yang berusia 20 tahun ke bawah tidak mengenali Selampit, Mak Yong, Wayang Kulit dan Menora. Faktor budaya adalah penting dalam menampilkan kemegahan sesuatu bangsa. Malaysia yang tidak mempunyai Borobudur, Angkor Wat, Taj Mahal, Tembok Besar China sewajarnya memberikan perhatian kepada tradisi lisan dalam usaha untuk mengekalkan warisan bangsa.

Oral tradition has a close relationship with the pattern of life, thought and belief of a society. In Malaysian context, there is a big gap between oral tradition and tourism. However, it is still not too late to take appropriate actions in order to save the oral tradition. A study about the extinction and the conservation measures of the oral tradition in Kelantan (Haron Daud, 2008) has found that a large number of young people under the age of 20 years did not know Selampit, Mak Yong, Wayang Kulit and Menora. Cultural factors are important in showing the grandeur of a nation. Malaysia does not have Borobudur, Angkor Wat, the Taj Mahal, or the Great Wall of China. Thus, it is important to pay some attention to the oral tradition in an effort to preserve the heritage of the nation.
HUBUNGAN MOTIF DAN IKON ALAM DALAM PEMBENTUKAN CORAK ANYAMAN MURUT DALAM KONTEKS REKAAN KONTEMPORARI
Authors: IBRAHIM ISMAIL 
Published: September 2021

Artikel ini membincangkan hasil daripada kupasan motif-motif yang menghiasi kraf anyaman suku kaum Murut secara menyeluruh yang dikumpul melalui maklumat primer dan sekunder di lapangan. Secara langsung motif ini adalah refleksi daripada kosmos kehidupan mereka yang dikutip daripada ikon alam semulajadi. Penampilan ikon dalam motif dan corak Murut dirujuk berdasarkan unsur-unsur yang dilihat, digunakan dan dipraktikkan dalam kehidupan seharian mereka. Kupasan motif-motif ini juga mendapati wujudnya motif dominan yang sememangnya diwarisi sejak turun temurun. Motif-motif anyaman Murut dikategorikan sebagai motif yang dinamik dan boleh berkembang kepada motif-motif yang lain.

This article discusses the results of the analysis of motives in woven crafts of Murut tribe collected through primary and secondary information in the field. The motives are the reflection of the cosmos lives collected from natural icons. The appearance of icon in the motives and patterns is referred to the elements viewed, used and practiced in their daily lives. It is found that there is a dominant motive inherited form past generations. The Murut woven motives are categorized as dynamic and can be expanded to other motives.
TRADISI LISAN: SATU PENILAIAN SEMULA
Authors: BIN SYED SULAIMAN SYED ABDULLAH 
Published: September 2021

Artikel ini membicarakan satu aspek daripada tradisi lisan iaitu kesusasteraan rakyat atau sastera rakyat yang juga dikenali sebagai sastera lisan. Kesusasteraan rakyat adalah terjemahan daripada bahasa Inggeris Folk Literature. Tradisi lisan merupakan khazanah warisan budaya bangsa yang tidak ternilai harganya. Justeru ia perlu dipertahankan, diperelokkan, digali, dicari dan didokumentasikan dalam pelbagai versi. Kita harus melihat tradisi lisan bukan lagi sebagai suatu produk yang tidak menyumbangkan apa-apa pulangan dalam bentuk ekonomi tetapi perlu diolah melalui daya kreativiti untuk menghasilkan ekonomi.

This article discusses one aspect of the oral tradition of folk literature or people literature which is also known as oral literature. Kesusateraan rakyat is a translation of the English Folk Literature. The oral tradition is the nation's cultural heritage that is priceless. Therefore it must be defended, improved, searched and documented in various versions. Oral tradition should be seen no more as a product of no contribution to the economy but should be treated with creativity in order to contribute to the economy.
ESTETIKA RASA DALAM FILEM ARAHAN DAN LAKON OLEH P. RAMLEE : ANALISIS TERHADAP FILEM PENAREK BECA (1955)
Authors: IBRAHIM AZAHA 
Published: September 2021

Kertas seminar ini cuba menjelaskan hubungan estetika dengan rasa khalayak dalam filem arahan dan lakonan oleh P. Ramlee: rujukan filem PENAREK BECA (1955). Estetika adalah konsep yang berkaitan dengan keindahan, elok, berguna yang merangkumi aspek fizikal dan dalaman termasuk akal budi. Rasa ialah emosi dan perasaan yang terpendam dalam alam bawah sedar diri seseorang (unconscious). Emosi akan terangsang apabila disentuh dan diusik dengan fenomena sosiobudaya kehidupan masyarakat yang direpresentasikan melalui filem yang mampu menyentuh rasa seseorang. PENAREK BECA (1955) menyajikan penonton dengan sinematografi, lakonan dan arahan P. Ramlee yang estetikanya merangkumi estetika bentuk, rupa, nilai dan sosiologi. Estetika tersebut membangkitkan rasa marah, rasa utama yang mendominasi filem ini di samping rasa sedih, rasa riang dan rasa wira. PENAREK BECA (1955) ialah filem pertama arahan P.Ramlee yang memberi kesan estetika rasa kepada penonton.

This seminar paper tries to explain the aesthetical relationships among the audience in the film directed and acted by P. Ramlee: PENAREK BECA (1955). Aesthetics is a concept related to beauty, pleasantness, usefulnessembracing the physical and inner common senses. Feeling is the emotion and feeling latent in the subconsciousness of a person (unconscious). Emotions are aroused when touched and untouched by the phenomenon of cultural life of the community represented in the film that could affect the taste of a person. PENAREK BECA (1955) presents the audience with the cinematography, scenario and direction of P. Ramlee, including aesthetic design, appearance, value and sociology. Aesthetics meant is capable to arouse the sense of anger, the core dominated feeling in the film, as well as feelings of sadness, sense of joy and heroism. PENAREK BECA (1955) was the first film directed by P.Ramlee and claimed to be capable of producing the effective aesthetical senses for the audience.
Waiting
Authors: Riquier Mai-Tram 
Published: September 2021

"Hi, I am so sorry for your wait," had become an essential part of the emergency department staff's greeting. The waiting room was full of frustrated, pale, and tired faces. The lucky patients had waited for 5 hours, others had been waiting for 24 hours or even longer. Then, when they finally got a room in the emergency department, patients would wait for another 24 hours for a bed inpatient. The hospital was gridlocked; half of the emergency department was technically functioning as an inpatient unit.
The emergency department team was coding a 30-year-old woman. The chief resident saw my confused face, and explained, “she was extremely acidotic because of DKA, because she had a 12 hour wait in an ED waiting room”.
“SI” popped on the board. I learned from my upper levels that SI stood for suicidal ideation, however I never expected that I would see this chief complaint this frequently in the children’s emergency department. There was always a resident in the children’s emergency department transcribing a child’s depiction of depression in the corner of the room. We got the same responses when we asked what was going on: “I’m lonely, I have no friends”, “COVID has been hard”, and “I don’t hang out with my friends anymore”. The effect of COVID-19 was further reaching than the pediatricians expected.
A victim of a lethal accident was wheeled in. Normally family members could gather by their loved one around a bed someplace other than in the ED, a place reserved for them where calmness and serenity would ease anguish and suffering. They would be greeted and prepared by caregivers to receive the sad news. The patient’s brain had herniated. “Usually, we would have a bed on the floor for this patient, a quieter space than the emergency department, however because of the limited bed space upstairs we were wondering if we could declare your son brain dead in the ED”. The devastating news was delivered in the ED among trauma staff busily attending to other patients and in the confusion of screams of psych patients in the background.
The contagion of COVID-19 goes beyond its medical diagnosis. In the emergency department, slashed on the faces of the crowd in the waiting room, you can see a sliver of how COVID-19 expands and devastates countless lives beyond those in the statistics.
Learners’ perceptions of the effectiveness of using self-reflection to understand English literary texts: towards an autonomous learning approach in Libya
Authors: El-Badri Hana , Abu-baker Fatma 
Published: September 2021

Teaching learners to reflect on their work has been widely researched within language-learning contexts in higher education. Research has revealed that self-reflection leads to both development in learners’ reading comprehension and lecturers being enabled to write more meaningful corrective feedback on learners’ assignments. Using a collaborative teaching approach at Benghazi university, this research evaluated the effectiveness of using a self-reflection worksheet for understanding short stories based on the perspectives of 19 tertiary Libyan learners and the course lecturers’ feedback.
The research process involved the learners first reading a short story and answering text comprehension questions and a reflection question in which they commented on their understanding. They were then introduced to the self-reflection worksheet and advised how to use it in their second reading of the same story. This self-reflection worksheet included a section where students added reflections on their understanding following the second reading, supported by the worksheet. Content analysis was used for the qualitative data that investigated the learners’ reflection after their first and second reading. It was also used for staff feedback on the learners’ reflections.
The findings show the usefulness of using the self-reflection worksheet in supporting the learners’ meaning understanding. It also helped them make positive changes during their second reading of the story. Evidence suggests that using worksheets for reading literary texts is effective in improving levels of reading comprehension. Implications and suggestions for effective teaching practice and future research are provided in this paper.