PubMed · 14763522
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James G Garrick. 2004. Intramedullary nailing.. https://doi.org/10.3928/0147-7447-20040101-05
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The rapid increase of ketamine (K) abuse worldwide has created a need for a sensitive and reliable detection procedure. Ketamine and its major metabolite, norketamine (NK), are usually determined with gas chromatography-mass spectrometry (GC-MS). Phase II metabolism of K has not been fully investigated. In this report, we studied the phase II biotransformation of ketamine. Urine samples were hydrolyzed with concentrated HCl and alkalinized and extracted with organic solvent. GC-MS (electron impact mode) was employed to determine K, NK, and dehydronorketamine (DHNK). Acidic hydrolysis of urine samples resulted in the detection of a significant increase of K, NK, and DHNK. This indicated the presence of acid-labile conjugates of K, NK, and DHNK in positive urine samples. Because we were unable to obtain DHNK reference materials, the determined value of DHNK was only presumptive. The limit of detection of the procedure was 1 ng/mL for K and 5 ng/mL for NK. The limit of quantitation was 5 ng/mL for K and 10 ng/mL for NK. The range of linearity was 5 micro g/mL for K and NK. The within-run precisions (%CV) for K at concentrations of 40, 120, and 360 ng/mL were 1.54%, 3.41%, and 2.08%, respectively. The within-run precisions for NK were 2.09%, 1.08%, and 1.16%, respectively. Between-day precisions for K were 5.04%, 1.99%, and 5.31%, respectively. Between-day precisions for NK were 3.93%, 2.37%, and 4.51%, respectively. The accuracy of the controls was between 93.7% and 102.5% of the target values. The effect of acidic hydrolysis was determined with a group of 50 samples. The median concentration ratios of hydrolyzed to unhydrolyzed K, NK, and DHNK were 1.15, 1.35, and 1.44, respectively.
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This paper contributes to debate on social constructionism in the sociology of health and illness through a study of injury among ballet dancers. In this empirical study of classical ballet dancers, we outline a phenomenology of the injured and ageing body in terms of a critical commentary on constructionism. We explore dancers' experiences of embodiment to illustrate our critique of recent interpretations of dance as a textual practice. Those forms of social constructionism that define the body as a text provide a forceful attack on discourses of authority and legitimation, but we argue that they are problematic as epistemologies and ontologies of embodiment. Through a phenomenological understanding of the experiences of embodiment, we observe how injury and ageing disrupt the practical accomplishments that underpin the ballet habitus and the dancer's identity. Although ballet injuries can terminate a dancing career, they are accepted as an inevitable part of the vocation of ballet. Our aim is to understand the interaction between injuries, dancers' experiences of discomfort and the social support that emerges from the ballet dancers as a social group. We draw on the concepts of social solidarity and collective consciousness in Emile Durkheim to show that injury is mediated through the social bonding of dancers into a professional ballet company, where injury is accepted as a sign of vocational commitment, and suggest that this 'collective effervescence' gives a novel meaning to the idea of a corps de ballet.