Nursing care of a 69-year-old patient after a stroke staying in the neurological ward

The presented work focuses on the description of issues related to ischemic stroke and the presentation of the patient's care process after this incident. The first part is a clinical description of the disease, and the second part is a case report of a patient after an ischemic stroke staying in a neurological ward. The work also includes a description of the course of hospitalization, nursing problems, nursing interventions undertaken and evaluations of nursing activities

Plasmodium vivax Reticulocyte Binding Proteins Are Key Targets of Naturally Acquired Immunity in Young Papua New Guinean Children

Background: Major gaps in our understanding of Plasmodium vivax biology and the acquisition of immunity to this parasite hinder vaccine development. P. vivax merozoites exclusively invade reticulocytes, making parasite proteins that mediate reticulocyte binding and/or invasion potential key vaccine or drug targets. While protein interactions that mediate invasion are still poorly understood, the P. vivax Reticulocyte-Binding Protein family (PvRBP) is thought to be involved in P. vivax restricted host-cell selectivity. Methodology/Principal findings: We assessed the binding specificity of five members of the PvRBP family (PvRBP1a, PvRBP1b, PvRBP2a, PvRBP2b, PvRBP2-P2 and a non-binding fragment of PvRBP2c) to normocytes or reticulocytes. PvRBP2b was identified as the only reticulocyte-specific binder (P<0.001), whereas the others preferentially bound to normocytes (PvRBP1a/b P≤0.034), or showed comparable binding to both (PvRBP2a/2-P2, P = 0.38). Furthermore, we measured levels of total and IgG subclasses 1, 2, 3 and 4 to the six PvRBPs in a cohort of young Papua New Guinean children, and assessed their relationship with prospective risk of P. vivax malaria. Children had substantial, highly correlated (rho = 0.49–0.82, P<0.001) antibody levels to all six PvRBPs, with dominant IgG1 and IgG3 subclasses. Both total IgG (Incidence Rate Ratio [IRR] 0.63–0.73, P = 0.008–0.041) and IgG1 (IRR 0.56–0.69, P = 0.001–0.035) to PvRBP2b and PvRBP1a were strongly associated with reduced risk of vivax-malaria, independently of age and exposure. Conclusion/Significance: These results demonstrate a diversity of erythrocyte-binding phenotypes of PvRBPs, indicating binding to both reticulocyte-specific and normocyte-specific ligands. Our findings provide further insights into the naturally acquired immunity to P. vivax and highlight the importance of PvRBP proteins as targets of naturally acquired humoral immunity. In-depth studies of the role of PvRBPs in P. vivax invasion and functional validation of the role of anti-PvRBP antibodies in clinical immunity against P. vivax are now required to confirm the potential of the reticulocyte-binding PvRBP2b and PvRBP1a as vaccine candidate antigens

Ocalające zatracenie : rozważania o doświadczeniu, pamięci i pragnieniu w twórczości Zygmunta Haupta, Stanisława Czycza i Krzysztofa Vargi

The thesis consists of three parts. Each of them is divided into separate chapters devoted to particular authors. The composition of those chapters is determined by the level of representativeness of a particular issue in a particular prose text. And so in the first part, dedicated to the strategy and poetics of the fragment, the author takes into consideration their updating in the works of Krzysztof Varga at the first place, then of Zygmunt Haupt, and finally, of Stanisław Czycz. The past, reverting the memory and the rise of importance of individual experience constitute the entity, around of which the considerance is developped in the second part. It is commenced by issues concerning brooding as a particular stock-in-trade in Haupt's prose. Fragments of Czycz's short stories, which show cherishing of a particular loss in the narrative are marked and discussed. In Varga's prose, the author attempts to save the myth of the past, instead of the past itself. In the third part, the questions about status and stock-in-trade of the authorial subject are raised, as well as about conceptions of subjectivity in works of Hapt, Czycz and Varga. Consideration of the prose of the three different authors, which is introduced in the thesis, is supported by thinking about literature as both performance and presenting. Every earnest reading of a literary work, which is understood in these terms, should subsume not only what is presented, but also the act and the fact of presenting itself. Then the text is understood, or imagined as a scene, being the source of voice. This is a phenomenon of the communication, of the contact itself, which is indicated by everything what happens in the text and by the text itself on every formal and substantive level. In texts of those authors, the voice belongs to someone, who can come into existence only as the voice. The identity of such person, or rather his image consists of life experience of the personal author, fragments of his biography, his consciousness, but also his unconscious, social and cultural norms, linguistic devices and the literary tradition. The question about “who” of this voice is in fact a question about a particular, historical unit, but also about psychosocial, linguistic and literary norms and practices. Just such questions are posed from the scene of writing in this text, and specific answers are given by the “self” of this voice. Both the “who” of this voice and his “what” are to large extent supported by the experiences of the authors themselves. Characters who appear on the scene of writing have traits similar, or even identical with traits that could describe people hidden under names of the authors. Often enough, those characters show, or even declare this similarity themselves. They narrate stories about themselves, about their past evoked by the power of their memory. By talking about it, they also talk about more or less conscious manners of shaping depictions of the past, about culturally determined devices, that are not reproducing it, but producing. They appear in texts as actors and narrators of the story. They will not refrain from speaking about that second activity. It gives them semblance of authenticity, semblance of being, but still this is just semblance. The possibility of presence is undermined by the voice, which unceasingly performs the act of disillusion, being the act of disillusion itself. The way of its existence is paradoxical. It is not personal, or certainly, not only personal. It is a result of pure productivity of the act of writing, to be exact, of writing out, writing up and writing to show off. The voice says: “I am here”, instead of: “I am important here because he is not able, or does not want to spring into existence on the scene of writing as himself; By this speaking and marking I am supplanting him here” (that is cynical voice of Czycz's writing out). Some other time: “I am not the voice of any individual, not even of a community, but a voice of collectiveness. I am not only the voice, which presents, speaks about something. I am the voice of the dialogue itself” (dialogic voice of Haupt's writing up). Finally: “I am the voice of the scene itself, of writing, of presenting” (spectacular voice of Varga's writing to show off). The voice attempts to head to its source, but the only thing it can do is to mark the source's impossible presence. Literary marking and emulating in texts do not lead to any direction (of retrieving what is lost, restoring the presence, establishing identity and expressing it in a complete work), as it is a purpose itself. That is why the author of the thesis states that in the prose of the authors mentioned above, the literary demonstration of the desire itself is effectuated there. This desire enables any communication, which becomes here an act of calling, corresponding with, and, as a result, saving only the remnants of what is not present or unavailable. Works of Haupt, Czycz and Varga are read as a project of the redeeming loss: occurring in the voice which comes from the scene of writing during the process of redeeming the remnants of a particular presence, by destroying and quelling it in its literary articulation

Pogrywanie w romantyzm

This article is an attempt to present the re-emergence of the Romantic symbolic paradigm in contemporary culture in an unusual form of play, or, a game. The author illustrates this phenomenon with Agnieszka Słodownik, Michał Danielewicz and Michał Szota’s interactive narrative entitled ashes ◀▷ diamonds,which is a digital, playable adaptation of Andrzej Wajda’s movie Ashes and Diamonds (being an adaptation itself of Jerzy Andrzejewski’s literary work). Their digital work uses Andrzejewski’s and Wajda’s plot and characters, but first of all, it adapts a certain problem, vision, idea, and the concept of the world with human and ethical values which are derived from the Romantic tradition. The game’s mechanics contemporizes them and uses them to transform the protagonist - and the gamer as well - into a tragic figure who is trapped in a world of Romantic myths and unable to make the right choice. The interpretation proposed by the author of this article allows him to consider the re-emergence of Romantic symbols and myths in contemporary cultural texts and performative (individual and collective) acts as examples of playing, gaming, and acting

Ocalenie czy oblężenie? Pod naporem pamięci

The issue of vividness and painterly qualities of prose by Zygmunt Haupt fuses the article’s two underlying issues. The first one involves the hitherto reception of his works — on the one hand, it saves them from oblivion, on the other — it imprisons them in an interpretative cliché, emphasizing its “painterliness”. The other issue involves the questions of the mnemonic experience and its significance in Haupt’s prose. The author of the article poses a thesis that a flood of visual reminiscences is experienced by Haupt’s Self not as a chance to save the past and its own identity, but as besetment and pressure — of both the memories themselves and the cultural patterns of their emergence. For him, the literary articulation of the mnemonic experience is thusly not a strategy to save from non-existence, but rather — this non-existence’s corroboration

Od autora do czytelnika : o doświadczeniu sztuki w "Tataraku" Andrzeja Wajdy

The author of the article, analysing the film Tatarak from 2009, examines a special case of interpretation of a literary text made on a cinema screen and shows the triple presence of Andrzej Wajda in this work: as a director, as a writer and as a reader. The research, especially concerning the introduction of an auto-thematic thread and making it a framework for Iwaszkiewicz’s story, leads to the conclusion that this trick not only supplements the literary story with an analogous experience of the death of a loved one, occurring in a world outside of (and superior to) the text world, but also reveals the source of artistic creativity or art par excellance. It is supposed to be the ethical responsibility for the other and the duty to provide, by one’s own artistic means, an entrusted, foreign but authentic experience. Achieving this truth, value and sense of artistic activity is achieved through the experience (as understood by John Dewey) of literature/art, and in this particular case – reading and interpreting a literary work

Old Dilemmas Renewed: Fear of Freedom vs. Freedom from Fear

Contemporary societies are currently subjected to very rapid and radical social changes and, as a consequence, struggle with their outcomes. The results range from the unforeseen repercussions of globally shifting political powers, through rising nationalisms, to prolonged economic, environmental, political and humanitarian crises. Critical analysis of the theories focused on the phenomena of authoritarianism, escapism, political myth, and conformity allows for outlining a comprehensive picture of the universally recognized opposition between freedom and security. From the distinction between the positive and negative freedom to the ambiguity surrounding the concept of “freedom from fear”, the fundamental dilemma is viewed from a historical perspective and illustrated with modern examples, emphasizing its current validity, insightfulness and potential in analyzing contemporary global problems. This approach allows for in-depth analyses of diversified social and political issues, such as the North African-European refugee crisis, rising nationalisms in the Western world, or a marked shift in political and social perspectives worldwide, from modern escapism to the birth of new myths of state

Idea jedności słowiańskiej w aspekcie kryzysu jugosłowiańskiego na przykładzie zmian w funkcjonowaniu Komitetu Słowiańskiego w Polsce

"Kryzys radziecko‑jugosłowiański w bezpośredni sposób zanegował ideę jedności słowiańskiej, do tej pory instrumentalnie promowaną przez ZSRR1. Potwierdzeniem tego mogą być słowa ambasadora polskiego w Paryżu – Jerzego Putramenta, który stwierdził, że: „Koniec czerwca w Paryżu – to przede wszystkim bomba jugosłowiańska […]”2. Już 28 czerwca 1948 roku na forum działającego w Bukareszcie Biura Informacyjnego Partii Komunistycznych i Robotniczych (Kominformu) ogłoszono rezolucję potępiającą Komunistyczną Partię Jugosławii (KPJ), oskarżając ją o prowadzenie antyradzieckiej polityki, osłabianie ducha walki klasowej oraz odstępstwa ideologiczne, czego konsekwencją było wykluczenie ze swoich szeregów partii jugosłowiańskiej." [fragment tekstu

Czytanie filmu - oglądanie literatury : propozycje interpretacji do spotkań edukacyjnych

Celem publikacji jest dostarczenie podstawowych narzędzi, niezbędnych do właściwego, dojrzałego i pogłębionego odbioru tekstów kultury, zwłaszcza audiowizualnej. Rozdziały zostały tak pomyślane i zredagowane, by mogły służyć jako pomoc naukowa nauczycielom przedmiotów humanistycznych w zajęciach szkolnych nt. kultury XX i XXI wieku, a także edukatorom zajmującym się kulturą medialną. Pod każdym z rozdziałów znajdują się propozycje lektur uzupełniających oraz pytania i zadania o różnym charakterze. Te ostatnie zostały pomyślane tak, by z jednej strony łączyły się z głównym tematem szkicu, z drugiej — by wykraczały poza to, co zostało już w nim omówione. Dlaczego uczenie i popularyzowanie czytania filmu wśród młodzieży jest tak ważne? Albowiem praktykowanie lektury prowadzi do wykształcenia nawyku sięgania po teksty kultury współczesnej — nierzadko trudne, wymagające, nieoczywiste, o wysokim stopniu złożoności — oraz do rozbudzenia zainteresowania niebanalnymi zjawiskami kulturowymi