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Creativity in any of its forms, either visual, musical, literary or performing arts, may be conceived as a cognitive capability, and should be actively explored in relation to patients with Alzheimer disease and related dementias, even when other cognitive functions do not allow us to even communicate with them. We are reporting the case of a talented artist with the diagnosis of early onset Alzheimer disease (AD) with progressive cognitive impairment but with preservation of her creativity until very late in the course of the disease.  相似文献
An important issue in stem cell biology relates to mechanisms of cellular plasticity. Specifically, could any observed multipotency of, e.g., adult stem cells arise from true transdifferentiation or as a result of cell-cell fusion? We studied this issue using a culture paradigm of astrocyte monolayers and multipotent neurospheres generated from neonatal cerebellar cortex and the subventricular zone (SVZ). Based on fluorescence in situ hybridization (FISH), cells from these cultures were found to contain an abnormal number of sex chromosomes, suggesting that cellular fusion is a common in vitro occurrence. A Cre/lox recombination method was also exploited to further confirm the evidence of fusion. Next, we assessed the potential of fusogenic microglial involvement by combining CD11b immunolabeling with FISH sex chromosome analysis. Differentiating neurospheres were also studied from the PU.1 knockout mouse that lacks cells of myeloid origin, presumed to be a source of central nervous system microglia. Very few cells immunopositive for the microglial marker CD11b were found to be aneuploid, and there was no difference in fusion frequency between PU.1+/+ and PU.1-/- neurospheres. These results, together, suggest that stem and/or progenitor cells that generate neurons and glia in culture possess the ability to generate fused polyploidal cells, but microglial participation is not a requirement for fusion to occur. In addition to caution that should be exerted during the interpretation of in vitro neural cell plasticity, the data also suggest that novel therapeutic treatments could be designed that exploit cellular fusion in rescue paradigms for degenerating neuronal populations.  相似文献
Paintings produced spontaneously by patients with neurological lesions represent a fascinating opportunity to analyze some aspects of the underlying disease and involved brain mechanisms. Many cases of artists who have suffered spatial neglect following a neurological disease have been reported in the literature. However, only a few studies evaluating the different subtypes of graphic neglect and aspects related to the construction of perspective (three dimensionality) in works of art have been published. In the present article, we present the case of an artist who, after resection of a central neurocytoma that affected the right thalamo-parietal connections, suffered an impairment of the ability to create perspective in his paintings and involuntary omission of only shapes in the left side of his paintings, although colors and contours were preserved.  相似文献
目的:研究团体绘画疗法联合盐酸舍曲林对首发抑郁症患者的疗效。方法60例首发抑郁症患者按随机数字表分为对照组和研究组,对照组患者采用单一药物盐酸舍曲林治疗,研究组患者采用团体绘画治疗联合盐酸舍曲林治疗。在治疗基线及治疗第1,2,4周进行 HAMD -17评分。结果研究组总体有效率为70.00%,优于对照组的56.67%,差异有统计学意义(χ2=3.12,P <0.05)。治疗第4周末时研究组 HAMD -17评分低于对照组(t =2.00,P =0.04),且两组间不良反应差异无统计学意义(P >0.05)。结论团体绘画治疗联合抗抑郁药物治疗首发抑郁症的疗效优于单药抗抑郁治疗,减轻抑郁症状效果更好。  相似文献
This study documents the main pictorial phenomena expressed in joint paintings by romantically involved couples, and attempts to define the principal elements of the “pictorial language” that individuals use to express their relationship. The study applies methods of inquiry that were developed for the purpose of therapy and evaluation, based on the phenomenological approach to nonclinical populations.In a qualitative examination of the paintings, 13 thematic categories were identified and used to examine expressions of the couple relationship in their joint paintings: suggestions for cooperation/non-cooperation, reactions to suggested cooperation/non-cooperation, relating to images made by the partner, distance between the partners in the painting, contact between the marks of the two partners, occupation of areas, similarity/difference between the painting styles of the participants, connection/separation between images, coherence of the resulting product, symbolism of style, images in the painting that are significant to understanding the relationship, behavior in the course of the painting process, and transitions between the paintings.Two case studies are presented to demonstrate how such analysis may help art therapists, marriage counselors, and family therapists evaluate and understand couple relationships by effectively revealing their conflicts and significant needs as expressed in their joint paintings.  相似文献
目的:探讨绘画治疗对儿童情绪障碍治疗的作用。方法:采用自身对照研究,将32例符合儿童情绪障碍诊断标准的儿童作为研究对象,进行为期6个月的绘画治疗。于治疗前及治疗后使用儿童焦虑性情绪障碍筛查量表(SCARED)和艾森克人格问卷(EPQ)儿童版对患儿进行评估。结果:治疗6个月后,患儿SCARED评分低于治疗前(P<0.05);EPQ中情绪稳定性量表分低于治疗前(P<0.05)。结论:绘画治疗能够有效改善和稳定情绪障碍儿童的情绪。  相似文献
We report a strange and very real story that contributed in a decisive way to the construction of the notion of sublimation. Resuming this notion as worked by Sigmund Freud, Edward Glover and others, Lacan comes to a halt on an article by Melanie Klein where she reports an almost miraculous therapeutic effect felt by a Danish woman – Ruth Weber Leigh-Kjær. Indeed, in the middle of a depressive period, this woman who had never studied painting became a painter by creating a particularly successful female nude, that of Josephine Baker. The triggering event was the sale of a painting that, in the series of paintings hung on the wall, gave off an “empty space” all of a sudden; this event brutally precipitated a characterized depressive episode, then, in response, a creative mechanism that provoked the surprise of the circle of acquaintances and initiated a career as a painter. This miracle provoked at the time the stupefaction of her incredulous entourage. Miracle of tomme plads (empty place, in Danish), it is published by a friend, the writer and journalist Karen Michaelis, then in its wake commented by Melanie Klein. Reading Karen Michaelis, the very year of her publication, was a source of inspiration for Melanie Klein, who writes Infantile Anxiety-Situations Reflected in a Work of Art and Creative Impulse (also published in 1929). The question, says Klein, is to grasp what is the “empty space” in Ruth Kjär, “or more precisely, what is the sense of that feeling that something is missing in her body?”. For Klein, the answer, already described in the previous psychoanalysis Congress (1927), is the feminine equivalent of anxiety of castration in boys. Melanie Klein notes that the first painting by Ruth Weber Kjär was a “Negress”. After reading the article by E. Glover (1931) on sublimation, Lacan reads the article by Melanie Klein and believes that Michaelis is a psychoanalyst. Although Lacan did not see the painting in question, he suspects that it is about Josephine Baker but above all he makes of this painting the paradigm of his theory of the vase incarnating das Ding which is precisely what represents the picture! Our article gives a place to the fantasies induced by Josephine Baker's world-famous spectacles at that time: figures of the absence of limits, figures of the distant, of exoticism, of our animality and daring sensuality. Did these figures favor the process of sublimation? Indeed, in Ruth Weber Kjaer's painting, the “Negress” Josephine Baker sits, her left thigh bent so as to show her sex; she looks to her left, and contemplates precisely a vase, placed in full light. In reference to Freud's Sketch, Lacan evokes the function of the vase: “It is indeed the void that it creates, the something that introduces the notion, the very prospect of filling it. The void and the full, in the vase, by the vase, are introduced into a world, which, of itself, knows nothing of such”. “The repair of sadistic impulses against the body of the mother”, (Klein) the royal road to sublimation, is possible only through the interposition of a vase, a vacuum structure Creator, placed in some way in equivalence with Josephine Baker. The latter is used as an “operator” against her depressive experience by K. Weber Kjaer in so far as she makes it, that she creates it equivalent of a vase. So neither Michaelis nor Melanie Klein saw the vase. On the other hand, Lacan, who takes Michaelis for an analyst, reconstructs the function of the vase without having seen it! Jean Walton, American, in an article entitled “Race and psychoanalysis” (1995), makes a fine point that with this event, as in the masquerade of Joan Riviere, the figure of the “Other race” plays an eminent role, even if it is generally ignored in psychoanalytic research on sexuation. For J. Walton, it is repeatedly observed that feminine fantasy is occupied not only by figures of emptiness, in response to the rivalry between the sexes and the prevalence of the power of the “white male”, but especially by a degrading instrumentalization of the black figures. These black figures are repeatedly used as global instruments, never recognized in their individuality. Using finely Frantz Fanon's work, she notes the “unconsciously racialized” character of these two famous cases, on the one hand Joan Riviere and the fantasy that she describes being raped by a black she would have sniffed, to denounce him and have him executed, so as to call into question a paternal imago, on the other hand the use that she knows degrading, of a “negress” by Ruth Weber, term taken again, she said, without further comment by Melanie Klein and whose “negativity” would be used by Weber's sublimation process so that she finally has access to a masculine universe, that of painting.  相似文献
Dedicating this work to Jean-Gerald Veyrat, the author explores the subject of painters seen and reviewed by the cinema, around a slideshow exhibited in colloquium. The opportunity to question the relationship of words, things, emotions and images. Through the staged staging of the creative act, the impossible to show the fulgurances and to represent the irrepresentable. From the difficulty of making the invisible real to the throes of artisans of art to give to see the visible, whirling glances of glance. The symptomatic omnipresence of the clichés of the artist and the pitfalls of psychobiography refers in this cinema to the myths of the eye of desire and the paradoxes of creativity. An eye for an eye. Repetitions and metamorphoses, since the night of the times and the first mirrors of the maternal pupil. Transpositions and revelations of painters at work, from subjectivity to subjectivity and transfers of memories into transfers of existences. As in therapeutic mediations, otherwise, films of painting aim at the gaze on the gaze without taking our eyes full. Sometimes for the best, even if it is for fake.  相似文献
A comprehensive analysis of the effect of lesion in‐painting on the estimation of cortical thickness using magnetic resonance imaging was performed on a large cohort of 918 relapsing‐remitting multiple sclerosis patients who participated in a phase III multicenter clinical trial. An automatic lesion in‐painting algorithm was developed and implemented. Cortical thickness was measured using the FreeSurfer pipeline with and without in‐painting. The effect of in‐painting was evaluated using FreeSurfer's paired analysis pipeline. Multivariate regression analysis was also performed with field strength and lesion load as additional factors. Overall, the estimated cortical thickness was different with in‐painting than without. The effect of in‐painting was observed to be region dependent, more significant in the left hemisphere compared to the right, was more prominent at 1.5 T relative to 3 T, and was greater at higher lesion volumes. Our results show that even for data acquired at 1.5 T in patients with high lesion load, the mean cortical thickness difference with and without in‐painting is ~2%. Based on these results, it appears that in‐painting has only a small effect on the estimated regional and global cortical thickness. Hum Brain Mapp 36:3749–3760, 2015. © 2015 Wiley Periodicals, Inc.  相似文献
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