bluuebunny/crossref_metadata_2025_split huggingface dataset:
Analgesic Effect of Erector Spinae Plane Block after Cesarean Section: A Randomized Controlled Trial
Authors: Dostbil A , Ince I , Altinpulluk EY , Perez MF , Peksoz U , Cimilli G , Kasali K , Atalay C , Ozmen O , Sahin T , Yilmaz EP 
Published: March 2023

ABSTRACT

Background:
Ultrasound-guided bilateral erector spinae plane block is also a technique for providing analgesia after a cesarean section.

Aim:
We hypothesized that bilateral erector spinae plane block applied from the transverse process of T9 who underwent elective cesarean section could provide effective postoperative analgesia.

Patients and Methods:
Fifty parturients who were scheduled to undergo elective cesarean section under spinal anesthesia were included in the study. Group SA (n = 25) was categorized as the group in which spinal anesthesia alone (SA) was performed, and Group SA+ESP (n = 25) was categorized as the group in which SA + ESP block was performed. All patients were given a solution containing 7 mg isobaric bupivacaine + 15 mg fentanyl intrathecally through spinal anesthesia. In the SA + ESP group, the bilateral ESPB was performed at level T9 with 20 ml 0.25% bupivacaine + 2 mg dexamethasone immediately after the operation. Total fentanyl consumption in 24 h, the visual analogue scale for pain, and time to the first analgesic request were evaluated postoperatively.

Results:
The total fentanyl consumption in 24 h was statistically significantly lower in the SA + ESP group than the SA group (279 ± 242.99 mg vs. 423.08 ± 212.55 mg, respectively, P = 0.003). The first analgesic requirement time was statistically significantly shorter in the SA group than the SA + ESP group (150.20 ± 51.83 min vs. 197.60 ± 84.49 min, respectively, P = 0.022). Postoperative VAS scores at 4th, 8th, and 12th h at rest were statistically significantly lower in group SA + ESP than in group SA (P = 0.004, P = 0.046, P = 0.044, respectively). VAS scores during the postoperative 4th, 8th, and 12th h cough were statistically significantly lower in group SA + ESP than in group SA (P = 0.002, P = 0.008, P = 0.028, respectively).

Conclusion:
Ultrasound-guided bilateral ESP provided adequate postoperative analgesia and significantly decreased postoperative fentanyl consumption in patients having cesarean section. Also, it has a longer analgesia time than the control group, and it has been shown to delay the first analgesic requirement.
The Impact of Endodontic Workload and Allocated Treatment Time of Dentists in Turkey on Perceived Stress and Complication Frequency and Suggested Solutions
Authors: Ozbay Y , Cirakoglu NY 
Published: March 2023

ABSTRACT

Background:
Procedural complications and workload have been reported as sources of stress in dentistry.

Aim:
To investigate the impact of endodontic workload and allocated treatment time of dentists on perceived stress and frequency of complications

Material and Methods:
The online survey included questions to evaluate the average number of root canal treatments per week, stress levels during root canal treatment, frequency of single-visit root canal treatments, time spent on single-visit treatments, frequency of endodontic complications per week, preference for management of complication, and proposed solutions.

Results:
A negative correlation was found between endodontic workload and perceived stress, which was statistically significant at slight and moderate stress levels (P < 0.05). Amongst the clinicians who feel “very stressful” during the treatment, the clinicians who allocate only 20 minutes or less per treatment had the highest frequency, and their numbers were significantly higher than clinicians who spent 20–40 minutes per treatment (P < 0.05). Amongst the clinicians who experience instrument separation 4–6 times/week, the number of clinicians who spent 40–60 minutes or more than 60 minutes per root canal treatment was significantly lower in comparison to the number of clinicians who spent 20–40 minutes (P < 0.05).

Conclusion:
Increasing the quality of dental equipment and reducing the time pressure on dentists might result in lesser stress levels of clinicians and fewer endodontic complications.
Sexual Experiences of Infertile Women: A Qualitative Study
Authors: Demirci H , Sen S 
Published: March 2023

ABSTRACT

Background:
It is suggested that stress related to infertility causes marriage conflicts and decreases in the frequency of sexual intercourse.

Aim:
This study aimed to explore the experiences of the sexuality of infertile women.

Patients and Methods:
A phenomenological design was used in this study. We conducted face-to-face, semistructured, in-depth interviews with 11 infertile women. The interviews were audio-recorded, and a thematic approach was used to assess the data.

Results:
The average age of the women was 33.05 ± 3.40 years, and their age of first sexual intercourse was 23.0 ± 2.8 years and all of them are legally married. The durations of experiencing the problem of infertility were as follows; 3-5 years in 33%, 6-10 years in 27%, and 11 years and above in 38%. According to interpretative phenomenological analysis, two main themes emerge. Two main themes were determined: Perception of Sexuality and Sexual Problems. The results show that infertile women have a higher risk for sexual dysfunction than fertile women.

Conclusion:
These findings suggest that the diagnosis of infertility is an important factor in assessing the differences in the sexual satisfaction of women. In infertility counseling, health professionals must explain the gender differences. Also, infertile couples must encourage to share each other’s feelings and this may help couples to cope with the communication problems they may experience.
Is gray-white matter ratio in out-of-hospital cardiac arrest patients' really early predictor of neurological outcome?
Authors: Emektar Emine , Karaarslan Fatmanur , Öztżrk Cansu , Ramadan Selma 
Published: March 2023

OBJECTIVE:
This study aimed to evaluate the association between neurological outcome and gray-white ratio (GWR) in brain computed tomography (CT) in patients with return of spontaneous circulation (ROSC) who were brought to the emergency department (ED) due to out-of-hospital cardiac arrest (OHCA).

METHODS:
This study has a retrospective design. Patients with ROSC who were brought to the ED due to OHCA and who underwent brain CT in the first 24 h were included in the study. Demographic data, brain CT results (intensities of gray matter and white matter in Hounsfield units and calculated GWR), and hospital outcome were recorded. The cerebral Performance Categories (CPC) score was used as the outcome of the study.

RESULTS:
A total of 160 patients were included in the study. 55% of the patients were male and the median age was 75.5. The median brain CT time of the patients was 120 min. 16.3% of the patients were in the good neurological outcome group. When attenuation values and GWRs of the patients were compared according to CPC of patients (good-poor), no statistically significant difference was detected in any parameter except MC2 attenuation (P > 0.05 for all values). The patients were separated into groups geriatric and nongeriatric and GWRs were compared. GWRs were lower in the geriatric groups (P < 0.05 for all values).

CONCLUSION:
Although it is emphasized in the literature that detection of low GWR in brain CT can help the clinical decision process in patients surviving comatose arrest, we think that it is not valid for especially in geriatric patients and in patients who underwent early brain CT after ROSC.
Gerard, Alexander (1728–95)
Authors: Townsend Dabney 
Published: March 2023

Article Summary
Alexander Gerard was successively professor of moral philosophy (1752) and professor of divinity (1759) at Marischal College in Aberdeen and then professor of divinity (1773) at King’s College, Aberdeen. He was a leading member of the Aberdeen Philosophical Society. His works include a new plan of education for Marischal College and works on Divinity, but it is primarily for his Essay on Taste (1759, 1780) that he is known. Gerard followed Francis Hutcheson (1725) and David Hume (1739, 1777) in explaining the faculty of taste in terms of senses. His Essay on Taste expanded the number of senses beyond the sense of beauty. He also followed Thomas Reid (1710–96) to justify sense by appealing to ‘common sense’ in order to reduce the subjectivity of sense in the theories of Hutcheson and Hume. In his later Essay on Genius (1774), Gerard moves closer to his friend and colleague, Thomas Reid. An increased emphasis on association and imagination replace sense theories in this later work. The works of David Hume (1711–76) and Reid were principle influences.
Art, definition of
Authors: Davies Stephen 
Published: March 2023

Many of the earliest definitions of art were probably intended to emphasize salient or important features for an audience already familiar with the concept, rather than to analyse the essence possessed by all art works and only by them. Indeed, it has been argued that art could not be defined any more rigorously, since no immutable essence is observable in its instances. But, on the one hand, this view faces difficulties in explaining the unity of the concept – similarities between them, for example, are insufficient to distinguish works of art from other things. And, on the other, it overlooks the attractive possibility that art is to be defined in terms of a relation between the activities of artists, the products that result and the audiences that receive them.
Two types of definition have come to prominence since the 1970s: the functional and procedural. The former regards something as art only if it serves the function for which we have art, usually said to be that of providing aesthetic experience. The latter regards something as art only if it has been baptized as such through an agent’s application of the appropriate procedures. In the version where the agent takes their authority from their location within an informal institution, the ‘artworld’, proceduralism is known as the institutional theory. These definitional strategies are opposed in practice, if not in theory, because the relevant procedures are sometimes used apart from, or to oppose, the alleged function of art; obviously these theories disagree then about whether the outcome is art.
To take account of art’s historically changing character a definition might take a recursive form, holding that something is art if it stands in an appropriate relation to previous art works: it is the location of an item within accepted art-making traditions that makes it a work of art. Theories developed in the 1980s have often taken this form. They variously see the crucial relation between the piece and the corpus of accepted works as, for example, a matter of the manner in which it is intended to be regarded, or of a shared style, or of its being forged by a particular kind of narrative.
Artistic interpretation
Authors: Goldman Alan H. 
Published: March 2023

Interpretation aims to advance understanding by providing explanations of various kinds. In art, it should aim to maximize our understanding and appreciation of a work, and enable us to grasp its artistic values. When we interpret an art work we may explain why its elements are placed in their contexts, for example, to convey a certain meaning or express a certain feeling. In the case of literature we explain why words and passages are placed where they are, why characters and events are described as they are, and so on. When we interpret whole works, we explain how they fit into broader explanatory frameworks (for instance, Freudian or Marxist) or how they relate to various traditions so as to serve (or reject) the values emphasized in those traditions.
The distinction between description, or the presentation of the fundamental data constituting a work of art, and interpretation, which involves explaining why those elements exist in a work, what values they serve, may be used to justify claims that interpretations can never be known to be true, while descriptions are obviously true or false. While this is reinforced by the fact that a work may generate conflicting interpretations, the distinction does not imply that interpretations cannot be known to be correct.
In a related debate, many see the artist’s intention in creating their work as the key to a valid interpretation. Since, however, many people find value in works in ways unintended by the artist, the onus is on the intentionalist to demonstrate the primacy of the value that the artist intended the work to have.
Ultimately, contending interpretations may not present as great a problem to a theory of interpretation as at first seems inevitable. Interpretations give priority in different ways to different artistic values; the choice of these values is simply a matter of artistic taste, not truth, and may not threaten the validity of any reasonably grounded interpretation.
Nature, aesthetic appreciation of
Authors: Carlson Allen 
Published: March 2023

In the Western world, aesthetic appreciation of nature and its philosophical investigation came to maturity in the eighteenth century. During that time, aestheticians found in nature an ideal object of aesthetic experience and analysed that experience in terms of disinterestedness, thereby laying the groundwork for understanding the appreciation of nature in terms of the concepts of the sublime and the picturesque. This philosophical tradition culminated with Kant, while popular aesthetic appreciation of nature continued primarily under the influence of the idea of the picturesque.
In the late twentieth century, renewed interest in the aesthetics of nature has produced various positions designed to avoid assimilating appreciation of nature to traditional models for aesthetic appreciation of art. One extreme position holds that the appreciation of nature is not in fact aesthetic, while another rejects the traditional analysis of aesthetic experience as disinterested, arguing instead that the aesthetic appreciation of nature involves engagement with nature. Other positions attempt to maintain much of the traditional conception of the aesthetic, while distinguishing aesthetic appreciation of nature from that of art by appeal to the unique character of the object of appreciation, stressing dimensions such as nature’s capacity for emotional arousal, its mysterious qualities, the role of imagination in its appreciation, the freedom that its appreciation allows, or the dependence of its appreciation on scientific knowledge.
In addition to attempting to determine the essence of the aesthetic appreciation of nature, the development of these positions has a number of ramifications, the most significant of which concern, first, the connection between aesthetic appreciation of nature and environmentalism and, second, the rise of a more general environmental aesthetics. In freeing the aesthetic experience of nature from artistic models, these positions focus appreciation on the true character of the object of appreciation: nature and its properties. The significance given to nature itself as the object of appreciation intensifies the investigation of the relationship between the aesthetic appreciation of natural environments and environmentalism. For example, some of these positions attempt to provide aesthetic appreciation of nature with a degree of objectivity that may make aesthetic considerations more effective in environmental assessment. However, the claim for the objectivity of aesthetic appreciation of natural environments as well as the contention that such appreciation is in general a powerful force for environmental preservation are topics of continuing discussion. Nonetheless, whether or not contemporary work in the aesthetics of nature gives support for environmentalism, it has yet paved the way for a more general environmental aesthetics, which examines the aesthetic appreciation of the world beyond both art and nature and is comparable to some developments in other areas of philosophy, such as environmental ethics.
Tragedy
Authors: Feagin Susan L. 
Published: March 2023

Article Summary
Tragedy began in ancient Greece as a type of dramatic performance. Its adaptations and transformations as a genre are an important part of literary, critical, and performance traditions in Europe and the United States and, to a degree, around the globe. ‘Tragedy’ also characterises a type of plot or a way of seeing the world in nondramatic poetry (‘lyric tragedy’) and some films and novels (for example, Moby Dick). In general, ‘tragedy’ is applied to representations of human suffering in an unpredictable and intractable world, brought about in spite of or even because of an individual’s efforts to fulfil their responsibilities to family, community, or to uphold their personal dignity.
The fifth-century bce works of Aeschylus, Sophocles, and Euripides are the original exemplars of tragedy as a dramatic genre. Aristotle, writing a century later, offers a definition and explanation of its significance, stressing how plots give rise to pity and fear and how suffering may occur as an unforeseen result of the protagonist’s actions. French neoclassic tragedy, like other works following in this tradition, emphasises more formal constraints of time, place, and action. Shakespearean tragedy provides a different exemplar containing characters who are not nobly born, speeches in prose as well as verse, and comic scenes. Lessing and Ibsen also produced drama that was more realistic and involved characters representing ordinary people, rather than the nobly born whose choices have broad social ramifications. In the nineteenth century, Hegel proposed that tragic plots essentially involve a protagonist’s struggle with conflicting duties, and his views constitute a second philosophical paradigm for tragedy and the tragic. The twentieth century debated the viability of the genre for modern times. Debate continues over whether tragedy as a genre is applicable to dramatic, filmic, and literary creative works outside the West, though Greek and Shakespearean tragedies are continually modified and adapted to express a variety of experiences and traditions around the globe.
Illustration
Authors: Wartenberg Thomas E. 
Published: March 2023

Article Summary
The first section clarifies the notion of illustration by presenting a necessary condition on something being an illustration, namely that it be related to something of which it is the illustration. The next section introduces the notion of a canonical illustration, one that is as fundamental as the text whose story it illustrates. Henry James’ view that illustrations do not belong in literary works for adults is then criticised. Finally, I discuss attempts to illustrate philosophy, considering the frontispiece to Hobbes’ Leviathan and Joseph Kosuth’s 276. (On Color Blue).
Art and knowledge
Authors: Young James O. 
Published: March 2023

Article Summary
The debate about whether art is a source of knowledge or, in other words, has cognitive value, can be traced to antiquity. The view that art can be a source of knowledge is often referred to as aesthetic cognitivism. Plato believed that works of art are likely to interfere with the pursuit of knowledge but Aristotle is an early example of an aesthetic cognitivist. Aesthetic cognitivism was widely held in the eighteenth century and, in recent years, many philosophers have investigated the question of how artworks could contribute to knowledge. During the nineteenth century and for much of the twentieth century, formalism about art was widespread. Formalism is the view that art is appreciated as contentless form and it is antithetical to aesthetic cognitivism. In the middle and late twentieth century some philosophers proposed that artworks can state propositions and, in this way, convey propositional knowledge. Other philosophers regarded exemplification as the key to understanding how art can contribute to knowledge. More recently, philosophers have suggested that works of art can influence how audience members perceive the world. Artworks are often said to be the source of knowledge of how to do or recognise something rather than held to be sources of propositional knowledge. Several authors have defended the view that literature is a source of non-propositional moral knowledge. Literary fiction is the art most commonly held to be a source of knowledge, but since antiquity the view that music is a source of moral knowledge, or that it can make people more virtuous, has often been defended. Aesthetic cognitivists are not committed to the view that all works of art are sources of knowledge, only to the view that some of them are. Recently, psychologists have found empirical evidence that supports the view that art is a source of knowledge, but some philosophers remain sceptical about art’s cognitive value.
Landscape, aesthetics of
Authors: Lamarque Peter 
Published: March 2023

Landscapes vary considerably in scale and kind. At one end are landscaped gardens and parks, carefully designed and maintained, at the other are wilderness areas of ice and snow, impenetrable forests, craggy mountains and valleys, raging rivers, or even landscapes on the moon or on Mars. In between are landscapes more or less the product of human activity, if not specifically designed as such: farmland, forest plantations, cultivated terraces for growing rice or tea, and urban landscapes with city parks, children’s playgrounds, skyscrapers, industrial zones, derelict buildings.
If these landscapes belong in the real world of matter and time, never far behind have been human depictions of them, under the broadest category of landscape paintings or poems. Human fascination with landscapes, across time and cultures, has led to a repeated interplay between landscapes themselves, how they are perceived and valued, and representations of them. One example might be the growing popularity in the nineteenth century of tourism to remote countryside such as the Lake Distract in England, influenced by Romantic poets like William Wordsworth. Or the influence of the imaginary landscapes by the artists Claude Lorrain or Nicolas Poussin in the seventeenth century on English landscape garden design in the eighteenth century, including the creation in the latter of mock ruins and visually striking settings. Yet another might be the thought from Oscar Wilde that ‘nature imitates art’, by which he (partially) meant that once we get used to looking at, for example, Impressionist landscape paintings, perhaps by Claude Monet, we come to see the real thing as bearing an Impressionist appearance. Also, the common expression ‘picturesque’ applied to a landscape suggests that enjoying a landscape of a certain kind bears a strong similarity to enjoying a landscape painting representing that kind. Of course, the landscapes that attract painters or poets are not always of the benign picturesque kind. The term ‘sublime’ is used to describe both the rugged, dangerous, awe-inspiring landscapes of towering mountains and thundering waterfalls, but also dramatic, often Romantic, depictions of these, by the likes of the painter Caspar David Friedrich or the poets Percy Bysshe Shelley or Samuel Taylor Coleridge (see Sublime, the).