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2. Longest sediment flows yet measured show how major rivers connect efficiently to deep sea

Author

Peter J. Talling, Megan L. Baker, Ed L. Pope, Sean C. Ruffell, Ricardo Silva Jacinto, Maarten S. Heijnen, Sophie Hage, Stephen M. Simmons, Martin Hasenhündl, Catharina J. Heerema, Claire McGhee, Ronan Apprioual, Anthony Ferrant, Matthieu J. B. Cartigny, Daniel R. Parsons, Michael A. Clare, Raphael M. Tshimanga, Mark A. Trigg, Costa A. Cula, Rui Faria, Arnaud Gaillot, Gode Bola, Dec Wallance, Allan Griffiths, Robert Nunny, Morelia Urlaub, Christine Peirce, Richard Burnett, Jeffrey Neasham, and Robert J. Hilton

Subjects
Science
Abstract

This paper analyses the longest sediment flows measured in action on Earth. These seabed flows were caused by floods and spring tides, and flushed prodigious sediment and carbon volumes into the deep sea, as they accelerated for a thousand kilometres.

Published
2022
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3. The Cronk yn How Stone and the Rock Art of the Isle of Man

Author

Timothy Darvill, Kate Welham, Robert Nunn, Paul Cheetham, Blaze O'Connor, and Vanessa Constant

Subjects
media_common.quotation_subject, Ethnology, General Medicine, Rock art, Art, Humanities, media_common
Abstract

Une re-evaluation des fouilles menees au debut du XXeme siecle au tertre rond de Cronk yn How pres de Ramsey, dans l'ile de Man, donne a penser qu'une paire de pierres a ete demolie au cours du 3eme millenaire av. J.-C. pour faire de la place pour un tertre rond avec une seule inhumation centrale. On suggere que l'une des pierres de la paire originale a ete ornee d'une serie de motifs avant d'etre incorporee dans le tertre. Certains des motifs utilises ont des paralleles parmi l'art rupestre incise du neolithique tardif sur les murs de tombes et de maisons et sur des plaques de pierre. D'autres motifs, y compris ce qui semble etre des representations de cerfs, contribuent a etendre notre repertoire des dessins connus et met en evidence le potentiel pour ce type d'art rupestre plutot sous-etudie. On peut trouver des paralleles pour les motifs zoomorphiques en Scandinavie. Une revue d'autres exemples d'art rupestre dans l'ile de Man a revele l'existence de plus de 70 panneaux repertories sur 55 sites individuels, ce qui en fait l'un des paysages d'art rupestre les plus denses de l'ouest de la Grande-Bretagne. Deux styles principaux sont representes, le style tombe a couloir, qui comprend Cronk yn How, et le style domine par les disques, ou style Galicien. Ce dernier compte pour plus de 95% des sites repertories, ce qui s'accorde bien avec ce que nous savons des relations culturelles de l'ile de Man au cours des 4eme et 3eme millenaires av. J.-C.

Published
2005
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4. In collaboration with the Canadian Anesthesiologists’ Society, the Canadian Journal of Anesthesia is proud to publish the best abstracts presented at the Annual Meeting of the Canadian Anesthesiologists’ Society held in Quebec City, Quebec, June 18–22, 2004

Author

David C. Campbell, Terrance W. Breen, Stephen Halpern, Holly Muir, Robert Nunn, H. Yang, K. Raymer, R. Butler, J. Parlow, R. Roberts, Rita Katznelson, Keyvan Karkouti, Mohammed Ghannam, Esam Abdelnaem, Jo Carroll, Stuart McCluskey, Terrence M. Yau, Jacek Karski, Gregory M. T. Hare, C. David Mazer, Xiamao Li, Rong Qu, May S. M. Cheung, Carla Coackley, Andrew J. Baker, Michael Ronayne, Dajun Song, Frances Chung, Barnaby Ward, Suntheralingam Yogendran, Carolyn Sibbick, Tejinder S. Chhina, Harry Lapierre, Zane S. Jackson, Howard M. Leong-Poi, Jerome M. Teitel, David A. Latter, Bradley H. Strauss, Peter L. Gross, Kong E. You-Ten, Valerie B. Caraiscos, Erin M. Elliot, Victor Y. Cheng, John F. MacDonald, Beverley A. Orsera, Richard Brail, Colin J. L. McCartney, Sherif Abbas, Hugo Nova, Regan Rawson, Vincent W. S. Chan, Joel Katz, Brent Graham, Dimitri Anastakis, and Herbert von Schroeder

Subjects
Anesthesiology and Pain Medicine, Jury, business.industry, Anesthesia, media_common.quotation_subject, Medicine, General Medicine, Editorial board, Patient controlled epidural analgesia, business, media_common
Abstract

tion by a member of the Society. The Richard Knill competition was instituted in memory of Dr. Richard Knill, a foremost researcher in anesthesiology and prominent collaborator to the Canadian Journal of Anesthesia (CJA). The Annual Meeting Committee selects the top abstracts submitted for presentation by members of the Society at the Annual Meeting. The authors are invited to present their results at the Richard Knill competition. Presentations are marked by a jury composed of the members of the Editorial Board of the CJA. In 2004, the Richard Knill Award was presented to Dr. David C. Campbell for his work on Patient Controlled Epidural Analgesia during labour.

Published
2004
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5. Abstract

Author

Tejinder S. Chhina, Harry Lapierre, Zane S. Jackson, Howard M. Leong-Poi, Jerome M. Teitel, David A. Latter, Bradley H. Strauss, Peter L. Gross, C. David Mazer, Richard Brull, Colin J. L. McCartney, Sherif Abbas, Hugo Nova, Regan Rawson, Vincent W. S. Chan, Joel Katz, Brent Graham, Dimitri Anastakis, Herbert von Schroeder, Alexandre Lallo, Pierre Drolet, Mélanie Lacroix, Kong E. You-Ten, Valerie B. Caraiscos, Erin M. Elliot, Victor Y. Cheng, John F. MacDonald, Beverley A. Orser, Bertrand Lau, Ban C. H. Tsui, Heather L. Mollison, William P. S. McKay, Rajesh Patel, Vance Chow, October Negraeff, Rana Karam, H. Yang, K. Raymer, R. Butler, J. Parlow, R. Roberts, David C. Campbell, Terrance W. Breen, Stephen Halpern, Holly Muir, Robert Nunn, Rita Katznelson, Keyvan Karkouti, Mohammed Ghannam, Esam Abdelnaem, Jo Carroll, Stuart McCluskey, Terrence M. Yau, Jacek Karski, Gregory M. T. Hare, Xiamao Li, Rong Qu, May S. M. Cheung, Carla Coackley, Andrew J. Baker, Michael Ronayne, Dajun Song, Frances Chung, Barnaby Ward, Suntheralingam Yogendran, Carolyn Sibbick, Lisa C. Silcox, Ted L. Ashbury, Brian Milne, Elizabeth G. VanDen Kerkhof, Pamela J. Morgan, Doreen Cleave-Hogg, Susan DeSousa, Louie Wang, Jelka Lujic, Niamh I. Donnelly, Clint J. Torok-Both, Barry Finegan, Michael J. Jacka, Barry A. Finegan, Rajiv Chawla, Ravi K. Agrawal, Mahendra Kumar, David H. Goldstein, James E. Paul, Monakshi Sawhney, W. Scott Beattie, Richard F. McLean, Joel L. Parlow, Deborah A. Tod, Dmitri Souzdalnitski, Elena Sourovtseva, Donald Livingstone, Gil Faclier, Jason Sawyer, Joseph Kay, Arsenio Avila, Mrinalini Balki, Pirjo H. Manninen, Karolinah Lukitto, Michael B. Lukins, Keya Quader, Munisha Agarwal, Rakhi Kawatra, J. S. Dali, Peter H. Mak, Geraldine Jose, Sean R. Hall, Murray Hong, Ivan L. Rapchuk, Karen Loo, Alain Deschamps, Asaha Suzuki, Akifumi Kanai, Sumio Hoka, Anthony M. -H. Ho, Manoj K. Karmakar, Anna Lee, Winnie Samy, Jie Yi, Paul B. S. Lai, Amy Cho, E. Stockton, S. Gowrie-Mohan, P. U. Ramanayake, S. Jothilingam, Ali Mirmansouri, Alese M. Wagner, Kirsten Cunningham, Shirley Perry, Sunil Desai, Clint Torok-Both, Kathryn DeKoven, Paul Brousseau, Orlando Hung, Adam Law, Derek Levangie, Ronald Cheverie, Karen M. Caputo, Robert Byrick, Martin Chapman, Kim Vicente, Glen Atlas, Josiane Léveillé, Dany Côté, Julie Soucy, Jean S. Bussières, Duminda N. Wijeysundera, George Djaiani, Vivek Rao, Michael A. Borger, Robert J. Cusimano, Anoush D. Moghadam, Abtin Heydarzadeh, Ashraf A. Fayad, Homer Yang, Elizabeth Ling, Paul K. Tenenbein, Doug Maguire, Roland Debrouwere, Peter C. Duke, Stephen E. Kowalski, Devashish Chakravarty, Jean-Yves Dupuis, Howard Nathan, Fraser Rubens, Roy Masters, Paul Hendry, Thierry Mesana, Hyun Ju Jung, Dmitri Chamchad, Valerie Arkoosh, Duminda Wijeysundera, Chris Chan, Kathleen Datillo, Joan Ivano, Cantwell Clark, Reed D. Quinn, John H. Braxton, Andreas H. Taenzer, Kristen M. Sullivan, Osama A. Al-Abdulhadi, Diane R. Biehl, Bill Y. Ong, Abdulaziz Boker, Kristine I. Stewart, Susan A. Shaw, Jeong-Yeon Hong, Susan K. Palmer, Rose Kung, Stephen H. Halpern, Jennifer A. Yee, Eric Goldszmidt, Crystal Chettle, Ralph Kern, Kristi Downey, Isabella Devito, Alison Macarthur, Niall L. Purdie, Pamela J. Angle, Christine Kurtz-Landy, David Streiner, Cathy Charles, Jo Watson MacDonnell, Desmond Lam, Lie Ming Lie, Jean E. Kronberg, Dorothy E. Thompson, Haiheng Dong, Ayman Hyder, Qinghua Wang, Wei-Yang Lu, Ngozi N. Imasogie, Atul Prahbu, Bruna Curti, Zoya Potyomkina, Matthew R. Belmont, Joseph Tjan, Cynthia A. Lien, Sanjay Patel, Charles Imarengiaye, Javad Peirovy, Reginald Edward, Frances F. Chung, Leonid Kayumov, David R. Sinclair, Henry J. Moller, Colin M. Shapiro, Guillaume Michaud, Guillaume Trager, Stephane Deschamps, Thomas M. Hemmerling, Janet Hsu, Patrick Cheng, John T. Granton, Alan D. Baxter, Salmaan Kanji, Adam D. Oxner, Karen J. Buth, Gregory M. Hirsch, Claudio DiQuinzio, Kristine A. Hirsch, A. Denault, P. Couture, M. Carrier, A. Fortier, D. Babin, J. C. Tardif, Jean-François Olivier, Fadi Basile, Ignatio Prieto, Nhiên Lê, Yuji Hirasaki, Patricia Murphy, Karen McRae, Thomas Waddell, Shaf Keshavjee, Peter Slinger, Adriaan Van Rensburg, Terry M. Yau, Eric Yeo, David Sutton, Michael Borger, Gilbert Blaise, Marius D. Gangal, Lan Gao, Stuart A. McCluskey, Wing Cheung, Bobby Metha, Humara Poonwala, Ludwik Fedorko, Johnson R. Symon, Mark D. Peterson, Carl C. P. Leipoldt, Michelle Clunie, William P. S. Mckay, Grant Miller, Joanne Guay, Louise Lortie, Soochang Son, Yunhee Kim, Toshimi Arai, Masao Yamashita, Denise Rohan, Ross Barlow, Sean J. Barbour, J. Mark Ansermino, Christine A. Vandebeek, Rangamani K. Raman, Nao Nakatsuka, Carolyne J. Montgomery, Erik D. Skarsgard, Colleen A. Court, James S. Galton, Mark W. Crawford, Basem Naser, Clifford Carter, Richard Liu, Andrew G. Usher, Dominic A. Cave, Cathy Tang, Jason A. Hayes, and Juliana M. Tan

Subjects
Anesthesiology and Pain Medicine, General Medicine
Published
2004
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7. Abstracts

Author

Cristina Hurtado, John Bradley, Andrew R. Burns, Keyvan Karkouti, Rob Anderson, Simon D. Abrahamson, C. David Mazer, O. R. Hung, L. Comeau, Joseph A. Fisher, Janet Tessler, Joshua Rucker, Alix Mathicu, Sara Murray-Foster, Chou Tz-Chong, Li Chi-Yuan, Takako Tsuda, Akihiko Tabuchi, Hiroshi Sasano, Masanobu Kiriyama, Akinori Okada, Junichiro Hayano, Akinori Takeuchi, Hirotada Katsuya, Claude P. Tousignant, Elizabeth Ling, Ramiro Arellano, N. Dowd, J. Karski, D. Cheng, J. Carroll-Munro, D. K. Rose, C. O. Mazer, M. M. Cohen, D. Wigglesworth, William P. S. McKay, Robert J. Teskey, Julio Militzer, Guy Kember, Travis Blanchet, Peter H. Gregson, Steven R. Howells, James A. Robblee, Terrance W. Breen, Laura Dierenfield, Tacie McNeil, Donna J. Nicholson, Stephen E. Kowalski, G. Andrew Hamilton, Michael P. Meyers, Carl Serrette, Peter C. Duke, Ingrid Custeau, Rend Martin, Sonia Larabée, Martine Pirlet, Madeleine Pilote, Jean-Pierre Tetrault, Ban C. H. Tsui, Sunil Gupta, Brendan Finucane, Mitchell J. Weisbrod, Vincent W. S. Chan, Z. Kaszas, C. Dragomir, M. R. Cohen, M. Gandhi, A. S. Clanachan, B. A. Finegan, Lisa Isaac, William M. Splinter, L. A. Hall, H. M. Gould, E. J. Rhine, Lyne Bergeron, Michel Girard, Pierre Drolet, Hong Hanh Le Truong, Carl Boucher, Daniel Vézina, Martin R. Lessard, Marie Gourdeau, Claude A. Trépanier, Theresa Yang, Alison Macarthur, P. Chouinard, F. Fugère, M. Ruel, Pekka Tarkkila, Marja Silvasti, Marjatta Tuominen, Nils Svartling, Per H. Rosenberg, David M. Bond, John F. Rudan, Michael A. Adams, Brian K. Tsang, Wanda Keahey, Lucia Gagliese, Marla Jackson, Paul Ritvo, Adarose Wowk, Alan N. Sandler, Joel Katz, J. G. Laffey, J. F. Boylan, Neal H. Badner, Wendy E. Komar, R. A. Cherry, S. M. Spadafora, R. J. Butler, Fiona McHardy, Joanne Fortier, Frances Chung, Scott Marshall, Ananthan Krishnathas, Jean Wong, Ewan Ritchie, Andrew Meikle, Nicole Avery, Janet van Vlymen, Joel L. Parlow, David Sinclair, Gabor Mezei, Fengling Jin, Andrew Norris, Tharini Ganeshram, Bernard A. MacLeod, Aliréza Azmudéh, Luigi G. Franciosi, Craig R. Ries, Stephan K. W. Schwarz, William PS McKay, Benjamin W. S. McKay, Pascal Meuret, Vincent Bonhomme, Gilles Plourde, Pierre Fiset, Stevens B. Backman, Alex Vesely, Leeor Sommer, Joel Greenwald, Elana Lavine, Steve Iscoe, George Volgyesi, Ludwik Fedorko, Joseph Fisher, Emilio B. Lobato, Cheri A. Sulek, Laurie K. Davies, Peter F. Gearen, François Bellemare, François Donati, Jacques Couture, Hwan S. Joo, Sunil Kapoor, Shahriar Shayan, Kenneth M. LeDez, Jim Au, John H. Tucker, Edwin B. Redmond, V. Gadag, Catherine Penney, Gregory M. T. Hare, Timothy D. G. Lee, Gregory M. Hirsch, Fan Yang, Eric Troncy, Gilbert Blaise, Yoshiyuki Naito, Shoji Arisawa, Masahiro Ide, Susumu Nakano, Kazuo Yamazaki, Takae Kawamura, Noriko Nara, Reiji Wakusawa, Katsuya Inada, Robert J. Hudson, Karanbir Singh, Gary A. Harding, Blair T. Henderson, Ian R. Thomson, Christopher G. Wherrett, Donald R. Miller, Alan A. Giachino, Michelle A. Turek, Kelly Rody, H. Vaghadia, V. Chan, S. Ganapathy, A. Lui, J. McKenna, K. Zimmer, William D. Regan, Ross G. Davidson, Krista Nevin, Sergio Escobedo, E. Mitmaker, M. J. Tessler, K. Kardash, S. J. Kleiman, M. Rossignol, L. Kahn, F. Baxter, A. Dauphin, C. Goldsmith, P. Jackson, J. McChesney, J. Miller, L. Takeuchi, E. Young, Kristine Klubien, Edith Bandi, Franco Carli, Kathleen Dattilo, Doris Tong, Mohit Bhandari, Louise Mazza, Linda Wykes, L. Z. Sommer, J. Rucker, A. Veseley, E. Levene, Y. Greenwald, G. Volgyesi, L. Fedorko, S. Iscoe, J. A. Fisher, Guo-Feng Tian, Andrew J. Baker, F. X. Reinders, A. J. Baker, R. J. Moulton, J. I. M. Brown, L. Schlichter, Laurence Van Tulder, Stéphane Carignan, Julie Prénovault, Jean-Paul Collet, Stan Shapiro, Jean-Gilles Guimond, Louis Blait, Thierry Ducruet, Martin Francœur, Marc Charbonneau, Guy Cousineau, Daniel R. Wong, Michele McCall, Fergus Walsh, Regina Kurian, Mary Keith, Michael J. Sole, Kursheed N. Jeejeebhoy, E. Whitten, P. H. Norman, J. A. Aucar, L. A. Coveler, Rodney M. Solgonick, Y. Bastien, Bruce Mazer, Koji Lihara, Beverley A. Orser, Michael Tymianski, Brendan T. Finucane, Nuzhat Zaman, Ibrahim Kashkari, Soheir Tawfik, Yun K. Tarn, Peter D. Slinger, Karen McRae, Timothy Winton, Alan N. Sandier, J. E. Zamora, Mary Jane Salpeter, Donglin Bai, John F. MacDonald, Kelly Mayson, Ed Gofton, Keith Chambers, Susan E. Belo, J. Colin Kay, Sean R. R. Hall, Louie Wang, Brian Milne, Chris Loomis, Zhi He, Wichai Wougchanapai, Ing K. Ho, John H. Eichhorn, Tangeng Ma, Wichai Wongchanapai, John H. Eicnhorn, Damian B. Murphy, M. B. Murphy, Steven B. Backman, Reuben D. Stein, Brian Collier, Canio Polosa, Chi-Yuan Li, Tz-Chong Chou, Jia-Yi Wang, John Fuller, Ronald Butler, Salvatore Spadafora, Neil Donen, Laurence Brownell, Sandy Shysh, Keith Carter, Chris Eagle, Isabella Devito, Stephen Halpern, J. Hugh Devitt, Doreen A. Yee, John L. deLacy, Donald C. Oxorn, Gary F. Morris, Raymond W. Yip, M. G. Gregoret-Quinn, R. F. Seal, LJ. Smith, A. B. Jones, C. Tang, B. J. Gallant, L. A. Nadwidny, Gerald V. Goresky, Tara Cowtan, Hilary S. Bridge, Carolyne J. Montgomery, Ross A. Kennedy, Pamela M. Merrick, M. Yamashita, K. Wada, Sylvie LeMay, Jean-François Hardy, Pamela Morgan, Steven Halpern, Jana Evers, P. Ronaldson, F. Dexter, Desmond Writer, Holly Muir, Romesh Shukla, Rob Nunn, John Scovil, Jeremy Pridham, Ola Rosaeg, Allan Sandier, Patricia Morley-Foster, Simon Lucy, Lesley-Ann Crone, Karen Zimmer, Deborah J. Wilson, Robert Heid, M. Joanne Douglas, Dan W. Rurak, Anna Fabrizi, Chantal T. Crochetière, Louise Roy, Edith Villeneuve, Louise Lortie, Sandra Katsiris, Barbara Leighton, Donna Wilson, Jean Kronberg, Leszek Swica, Janet Midgley, Robert Nunn, Bruce Smith, Michael E. Rooney, David C. Campbell, Celina M. Riben, Ray W. Yip, Jo MacDonell, and Tracey Levine

Subjects
Sevoflurane, Anesthesiology and Pain Medicine, Morphine, Total Knee Arthroplasty, Pulmonary Capillary Wedge Pressure, Ropivacaine, General Medicine, Article
Published
1998

8. Expedient Monumentality

Author

Colin Richards, Charles French, Lee Wellerman, Robert Nunn, Joanna Wright, Mairi Robertson, George Demetri, and Rebecca Rennell

Published
2013
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9. Marginality and English-Canadian Theatre

Author

Robert Nunn

Subjects
Theatre studies, Literature and Literary Theory, Visual Arts and Performing Arts, media_common.quotation_subject, Art, media_common, Visual arts
Abstract

Le théâtre canadien anglais a toujours été et est encore un art marginal. Bien que certaines transformations culturelles et économiques–nous pensons, par exemple, à la poussée exponentielle de la culture de masse–aient contribué à marginaliser le théâtre, au Canada aussi bien que dans le reste du monde, nous considérons que cette marginalisation constitue un élément positif de la culture post-coloniale et postmoderne. Le théâtre Canadian anglais, plus que tout autre, est un produit presque exclusif des théâtres «à cote», ou alternatifs. Trois pièces récentes, deux écrites en anglais (Love and Anger de George F. Walker et Dry Lips Oughta Move to Kapuskasing de Tomson Highway) et une en français (Á toi, pour toujouis, ta Marie-Lou, de Michel Tremblay dans la traduction de John Van Burek et Bill Glassco), présentent en raccourci l'esthétique actuelle du nouveau théâtre canadien, qui est ici analysé dans les rapports complexes entretenus entre les divers courants d'activité théatrale, tant au point de vue de la représentation de ces pièces que par rapport à leurs structures textuelles.

Published
1992
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10. The Subjects of Salt-Water Moon

Author

Robert Nunn

Subjects
Visual Arts and Performing Arts, media_common.quotation_subject, Salt water, Ethnology, Art, Humanities, media_common
Abstract

Jacob Mercer as a character is a compendium of patriarchal values, and at the heart of Salt-Water Moon is a struggle between two tendencies: one, to uphold the values embodied in Jacob; the other, to resist them. This struggle is not only between the two characters, Jacob and Mary, but is also embedded in the text, and more particularly in the cues given to the spectator as to how the characters are to be looked at. At one level, the play is based on stereotypical and regressive views of the nature of men and women. The plot is constructed so that Jacob is the one who makes everything happen; Mary reacts. Jacob's behavior is calculated and conscious and completely under his control at all times. Mary's conscious behavior, her rejection of Jacob's advances, is discounted in favour of her involuntary behaviour which reveals 'against her will' that she still loves him. The play assumes its audience's complicity in these assumptions; the performance of the play constructs a position for the spectator, a position that is assumed either to be male, or to accept the male perspective as natural. On another level: within the text itself are contradictions, resistances, to the dominant reading it tends to elicit. Perhaps more significantly, in performance, these resistances can be made truly subversive. Jacob en tant que personnage est un amas de valeurs patriarcales et au centre de Salt-Water Moon se trouve une lutte entre deux tendances: celle de soutenir les valeurs incarnees par Jacob et celle d'y resister. Cette lutte n'est pas seulement entre les deux personnages, Jacob et Mary; c'est egalement une lutte profondement enracinee dans le texte, et tout particulierement dans les indications fournies au spectateur pour lui faire voir les personnages comme il faut. A un niveau, la piece est basee sur des idees stereotypees et retrogrades sur la nature des hommes et des femmes. L'intrigue est construite de sorte que Jacob mene toujours le jeu, tandis que Mary reagit. La conduite de Jacob est calculee et consciente, toujours completement sous son controle. La conduite consciente de Mary, son refus des avances de Jacob, s'annulle par sa conduite involontaire qui revele que "malgre elle" elle est toujours amoureuse de lui. La piece suppose la complicite des spectateurs dans ces hypotheses; la representation de la piece cree une attitude pour le spectateur, une attitude donnee comme mâle ou qui accepterait comme allant de soi la perspective mâle traditionnelle. A un autre niveau: au coeur du texte lui-meme il y a des contradictions, des resistances a la lecture dominatrice qu'il tend a evoquer. Le plus signifiant, peut-etre, c'est que l'on peut jouer cette piece en sorte que ses resistances soient vraiment subversives.

Published
1991
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11. A multicenter, randomized, controlled trial comparing bupivacaine with ropivacaine for labor analgesia

Author

Robert Nunn, Stephen H. Halpern, David Campbell, Holly A. Muir, Terrance W. Breen, Jean E. Kronberg, and Gordon H. Fick

Subjects
Adult, medicine.medical_specialty, medicine.drug_class, medicine.medical_treatment, Analgesic, Oxytocin, law.invention, Fentanyl, Randomized controlled trial, Double-Blind Method, law, Pregnancy, medicine, Humans, Ropivacaine, Anesthetics, Local, Pain Measurement, Bupivacaine, Local anesthetic, business.industry, Cesarean Section, Infant, Newborn, Pregnancy Outcome, Nerve Block, Delivery, Obstetric, Amides, Surgery, Anesthesiology and Pain Medicine, Patient Satisfaction, Anesthesia, Nerve block, Apgar Score, Analgesia, Obstetrical, Apgar score, Female, business, medicine.drug
Abstract

Background A meta-analysis of studies comparing high doses of bupivacaine with ropivacaine for labor pain found a higher incidence of forceps deliveries, motor block, and poorer neonatal outcome with bupivacaine. The purpose of this study was to determine if there is a difference in these outcomes when a low concentration of patient-controlled epidural bupivacaine combined with fentanyl is compared with ropivacaine combined with fentanyl. Methods This was a multicenter, randomized, controlled trial, including term, nulliparous women undergoing induction of labor. For the initiation of analgesia, patients were randomized to receive either 15 ml bupivacaine, 0.1%, or 15 ml ropivacaine, 0.1%, each with 5 microg/ml fentanyl. Analgesia was maintained with patient-controlled analgesia with either local anesthetic, 0.08%, with 2 microg/ml fentanyl. The primary outcome was the incidence of operative delivery. We also examined other obstetric, neonatal, and analgesic outcomes. Results There was no difference in the incidence of operative delivery between the two groups (148 of 276 bupivacaine recipients vs. 135 of 279 ropivacaine recipients; P = 0.25) or any obstetric or neonatal outcome. The incidence of motor block was significantly increased in the bupivacaine group compared with the ropivacaine group at 6 h (47 of 93 vs. 29 of 93, respectively; P = 0.006) and 10 h (29 of 47 vs. 16 of 41, respectively; P = 0.03) after injection. Satisfaction with mobility was higher with ropivacaine than with bupivacaine (mean +/- SD: 76 +/- 23 vs. 72 +/- 23, respectively; P = 0.013). Satisfaction for analgesia at delivery was higher for bupivacaine than for ropivacaine (mean +/- SD: 71 +/- 25 vs. 66 +/- 26, respectively; P = 0.037). Conclusions There was no difference in the incidence of operative delivery or neonatal outcome among nulliparous patients who received low concentrations of bupivacaine or ropivacaine for labor analgesia.

Published
2003

12. EPIDURAL ROPIVACAINE VS. BUPIVACAINE: OBSTETRIC OUTCOMES

Author

Stephen H. Halpern, Robert Nunn, Terrance W. Breen, Jean E. Kronberg, Gordon H. Fick, Holly A. Muir, and David Campbell

Subjects
Bupivacaine, Anesthesiology and Pain Medicine, Ropivacaine, business.industry, Anesthesia, medicine, business, medicine.drug
Published
2001
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17. Spatial Metaphor in the Plays of Judith Thompson

Author

Robert Nunn

Subjects
Visual Arts and Performing Arts, Metaphor, media_common.quotation_subject, Art history, Art, Humanities, media_common
Abstract

It is generally agreed that the power of Judith Thompson's plays resides partly in their intricate texture of metaphors. This essay proposes that the structure and meaning of the plays are illuminated if we examine spatial metaphors, as they appear in the text and as they foreground aspects of the multileveled sets designed for the plays' first mainstage production. Il est generalement accepte que la force des pieces de Judith Thompson depend en partie de l'enchevtrement de leurs metaphores. Cet essai cherche a montrer que la structure et la signification de ces pieces deviennent plus claires si nous examinons les metaphores spatiales, comme elles paraissent dans le texte et comme elles mettent en lumiere certains aspects des decors a plusieurs niveaux qui ont ete concus pour les premieres mises en scene de ces pieces dans un theâtre de premiere importance.

Published
1989
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18. Sharon Pollock's Plays: A Review Article

Author

Robert Nunn

Subjects
Visual Arts and Performing Arts, biology, media_common.quotation_subject, Mythology, Art, biology.organism_classification, Publics, Humanities, Pollock, media_common
Abstract

Sharon Pollock has been writing for the stage, radio and television for more than ten years. Although her television and radio plays are not readily accessible, a survey of those of her stage plays which are available (and two of her radio plays) reveals a dramatist who has given her central theme, the effect of social issues and public myths on individual lives, a progressively richer treatment. In particular individual identity, taken for granted in her first plays, becomes in Blood Relations a mystery, explored and reassessed with troubling impact. Sharon Pollock ecrit pour la scene, la radio et la television depuis plus de dix ans. Bien que ce qu'elle a ecrit pour la radio et la television ne soit pas d'un acces facile, un survol de celles de ses pieces pour la scene qui sont encore en vente (avec l'addition de deux pieces radiophoniques) revele un dramaturge don't le theme central, l'effet des questions du jour et des mythes publics sur la vie des individus, a recu un traitement progressivement plus riche. En particulier, l'identite personnelle, presentee comme un donne dans ses premieres pieces devient dans Blood Relations un mystere, explore et ressasse de facon a amener un impact troublant.

Published
1984
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19. The Interplay of Action and Set in the Plays of David Fennario

Author

Robert Nunn

Subjects
Visual Arts and Performing Arts, Action (philosophy), media_common.quotation_subject, Contradiction, Ethnology, Ideology, Art, Humanities, Naturalism, media_common
Abstract

This essay studies the four plays David Fennario wrote during the time of his association with Centaur Theatre in Montreal. It examines the contradiction between two aspects of the plays. On one side of the contradiction is their adherence to the conventions of Naturalism, which signify a made environment in which human beings are trapped. On the other side is the fundamental premise of Marxism, that the social and physical environment is not fixed but is determined by a continual struggle between classes supporting the status quo, whose weapons are direct repression (force) and indirect repression (ideology), and the working class, whose weapon is praxis. The interaction between the characters and the set is the site of this contradiction. Following the productions of Moving, Fennario abandoned both Centaur and Naturalism. The essay concludes with a brief examination of the first play Fennario wrote for the Black Rock Theatre in his home community of Pointe Saint-Charles/Verdun. Dans cet article sont etudiees les quatre pieces composees par David Fennario lors de son association avec le Centaur Theatre a Montreal. Une contradiction s'y revele entre deux aspects de ces pieces: d'une part, leur conformite aux conventions naturalistes qui impliquent un milieu factice ou l'etre humain se trouve emprisonne; de l'autre, la donnee fondamentale du marxisme ou le milieu social et physique n'est pas predetermine mais se definit plutot par une lutte incessante entre, d'un cote, les classes qui soutiennent le statu quo et don't les armes sont la repression directe (recours a la force) ou indirecte (recours a l'ideologie), et de I'autre cote la classe ouvriere, don't l'arme essentielle est l'action directe. C'est dans les rapports entre personnages et decors sceniques que se situerait cette contradiction. Apres la creation de Moving, l'auteur abandonna et le Centaur et le naturalisme. L'article se termine sur une breve analyse de la premiere piece ecrite pour le Black Rock Theatre, situe a Pointe Saint-Charles/Verdun, la ou demeure Fennario.

Published
1988
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20. The Phenomena of Depreesions

Author

Leon J. Nunnally, Robert Nunn, Leon J. Saul, Roy R. Grinker, Melvin Sabshin, and Julian Miller

Subjects
Psychiatry and Mental health, Psychology
Published
1962
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