This paper aims to provide an initial response to Angela Woods's endeavour to '(re)ignite critical debates around this topic' in her recent essay 'The limits of narrative: provocations for the medical humanities' (Medical Humanities 2011). Woods's essay challenges the validity of the notion of the narrative self through her discussion and use of Galen Strawson's seminal 'Against narrativity' (2004). To some extent in dialogue with Woods, this article will examine three exploratory concepts connected with the topic. First, it will explore ways in which we might seek to re-place narrative at the centre of the philosophy of good medicine and medical practice by reassessing the role of the narratee in the narrative process. Second, it will reconsider the three alternative forms of expression Woods puts forward as non-narrative—metaphor, phenomenology and photography—as narrative. Finally, and connected to the first two areas of discussion, it will reflect on ways in which narrative might be used to interpret illness and suffering in medical humanities contexts. What I hope to show, in relation to Woods's work on this subject, is that in order to be interpreted (indeed interpretable) the types of non-narrative representation and communication she discusses in fact require a narrative response. We employ narratology to engage with illness experience because narrative is so fundamental to meaning-making that it is not just required, it is an inherent human response to creative outputs we encounter. This is a quite different approach to the question of narrativity in the medical humanities, and it is therefore related to, but not entirely hinged upon, the work that Woods has done, but it is intended to spark further discussion across the emergent discipline.
Responding to sociologists and medics such as Arthur Kleinman, Arthur Frank and Howard Brody, who have focused heavily on the importance of narrative in patient illness discourse, Charon has recognised that doctors have to "follow the patient's narrative thread, identify the metaphors or images used in the telling, tolerate ambiguity and uncertainty as the story unfolded, identify the unspoken subtexts, and hear one story in light of others told by this teller" (p. 4).1 Charon gives voice here to a growing cohort of scholars who understand narrative to be at the core of good medical practice.2–4 However, a number of issues with this way of thinking have been raised. Recently, Angela Woods has set medical humanities scholars the task of reflecting critically on whether narrative is useful or helpful in clinical practice, or indeed in our philosophical engagement with stories of illness. In 'The limits of narrative: provocations for the medical humanities' (2011),5 Woods uses Galen Strawson's seminal, if flawed, 'Against narrativity' (2004)6 to argue that storytelling is not the only—or even, indeed, the most valuable—way in which to express or recognise a person's suffering. Woods stakes an important claim in bringing Strawson's essay to light within a medical humanities context because she has problematised the nature of narrative for medical humanities scholars at a time when narratology is thought to be key to the emergent discipline. We understand that ethics and phenomenology are part of the medical humanities package, but we now interest ourselves with why they are used and how they are delivered. Narrative is part of that story. Still, despite this problematisation, in this paper, which in part responds to Woods's call to discuss the topic further, I want to argue that there is no way to interpret trauma completely outside of narrative; in fact, the other ways she suggests are narrative though in a different form from what we might expect. Moreover, perhaps the task for medical humanities is to consider useful ways in which to shift the focus away from the narrator and on to the narratee, which would allow scholars to reassess what it is we do with stories of illness. This is, after all, where narrative expertise is required. The healthcare provider's interpretation and analysis involves narrative competence if they are to make sense of, and respond to, the information given, as Charon has argued so persuasively.
For Charon, this philosophy is essential for good healthcare, to humane healthcare. Similarly, Arthur Frank is concerned with the usefulness of narrative in medicine to bring about more empathetic and effective caregiving. In his preface to The Wounded Storyteller (1997), Frank has suggested that "[t]he ill person who turns illness into story transforms fate into experience; the disease that sets the body apart from others becomes, in the story, the common bond of suffering that joins bodies in their shared vulnerability" (p.xii).7 The connection between narrative and phenomenology is crucial to Frank's meaning-making of how illness functions as a story in and of itself. It is also crucial, as it is to Charon, that the story performs the act of bridging people and experience. With his focus on the narrator, what Frank perhaps does not fully acknowledge is what happens when the narration breaks down. When the narrator struggles to articulate their story or when no articulation is possible, the narratee must still try to (indeed, will) find meaning through narrative.
This paper, then, aims to provide an initial response to Angela Woods's endeavour to "(re)ignite critical debates around this topic" 'The limits of narrative: provocations for the medical humanities'.5 Woods's essay challenges the validity of the notion of the narrative self through her discussion and use of Galen Strawson's seminal 'Against narrativity' (2004).6 To some extent in dialogue with Woods, this article will examine three exploratory concepts connected with the topic. First, it will explore ways in which we might seek to re-place narrative at the centre of the philosophy of good medicine and medical practice by reassessing the role of the narratee in the narrative process. Second, it will reconsider the three alternative forms of expression Woods puts forward as non-narrative—metaphor, phenomenology and photography—as narrative. Finally, and connected to the first two areas of discussion, it will reflect on ways in which narrative might be used to interpret illness and suffering in medical humanities contexts. What I hope to show, in relation to Woods's work on this subject, is that in order to be interpreted (indeed interpretable) the types of non-narrative representation and communication she discusses in fact require a narrative response. We employ narratology to engage with illness experience because narrative is so fundamental to meaning-making that it is not just required, it is an inherent human response to creative outputs we encounter. This is a quite different approach to the question of narrativity in the medical humanities and it is therefore related to, but not entirely hinged upon, the work that Woods has done, but it is intended to spark further discussion across the emergent discipline.
In their discussion of what they term 'the problem of reality', Robert Scholes, James Phelan and Robert Kellogg have argued that "Meaning, in a work of narrative art, is a function of the relationship between two worlds: the fictional world created by the author and the 'real' world, the apprehendable universe. When we say we 'understand' a narrative we mean that we have found a satisfactory relationship or set of relationships between these two worlds" (p.82).8 This is the basic framework within which this article seeks to shed fresh light on how narrative works from a medical humanities perspective. When we draw meaning from narrative, we assimilate our own experiences with the ones being described to us. But I want to take this concept further to assert that even when no narrative is apparent—in metaphor, phenomenology and photography to use Woods's examples—through reception of the medium, the recipient will make meaning by using narrative. The narratee will form a story, however loosely based on truth or fact, to make sense of what they see, hear, experience, etc.
One of the main difficulties with this line of reasoning is that the parameters of what does and does not constitute narrative are not clearly defined in current narrative studies scholarship. In her essay "Toward a definition of narrative", however, Marie-Laure Ryan has put forward three potential domains for consideration: discourse, story and use (p.24).9 For the purposes of this essay, I am most concerned with the aspects of story and use because these are the areas most applicable to the medical encounter: what is the story and how can that story be used to provide good healthcare for the patient? As Brody has pointed out, "not only is the telling of stories a specific sort of act, it is an act that has important implications for the very organization of human knowledge and of other human actions" (p.23).10 How narrative is constructed has been considered central to how humans understand one other and themselves by cognitive scientists such as Mark Turner (pp.4–5).11 Unsurprisingly, then, in the view of some medical humanities scholars, narrative is also fundamental to understanding the medical encounter. For doctors and other health professionals, Arthur Kleinman has argued, "witnessing and helping to order that experience [of illness] can be of therapeutic value [to patients]" (p.xii).12 So, in this case, for example, ordering experience means creating a narrative that can help the health professional to understand the patient's situation and enable the patient to feel heard and cared for. There is a difficulty with this theory in that—in practice—the doctor's attempts to help order the experience of illness may be restrictive and damaging for a patient who is unable to get their story across as they would like. Nevertheless, no matter what the patient does or does not say, the health professional will (and is required to) make a judgement on the patient's condition and treatment. A narrative will take shape in the mind of the healthcare professional that will enable them to make this judgement, although of course we cannot know precisely the extent to which it is driven by or reflected in the patient's account of what has happened to them and why. Clearly this view of the narrative exchange between a patient and their health professional is deeply problematic; there will be multiple and potentially conflicting narratives forming not to mention the ethical implications of autonomy and justice. Potentially, the medical encounter could be a site of trauma in itself in these terms.
In 'Beyond the wounded storyteller: rethinking narrativity, illness and embodied self-experience', Woods explores the extent to which we are 'narrative selves' and whether narrative is the best way to respond to illness. Here, she finds that in the medical humanities there is a tendency to identify narrative by its relationship with meaning, culture or identity. It is, therefore, not designed to encompass diverse perspectives of human experience; in the medical humanities "a person's narrative is often held to be coextensive with their subjective experience, their psychological health and indeed their very humanity" (p.114).13 In other work where she discusses this topic, she refers specifically to the dangers of 'overinflating that counts as narrative' which she believes "risks mistaking a specific form of primarily linguistic expression for the master-trope of subjective experience" (p.74).5 In her discussion of the need to be more attentive to genre rather than conflating different types of narrative, Woods further criticises the ways in which some authors "collapse distinctions between different narrative forms and contexts" (p.74).5 In this, she seemingly refuses multiple narrative possibilities in her assessment of how we express ourselves in the world. Moreover, her suggested alternatives to narrative (phenomenology, metaphor and photography) may well create as equally a rigid taxonomy as the one she is attempting to challenge. Perhaps, instead, it is the multiplicity—this expandability—of our understanding of narrative and its uses that makes it most pertinent and valuable to the medical humanities, itself a diverse and vibrant field of enquiry. Moreover, it is my contention that in our engagement with any creative expression of human feeling or experience, we employ a way of narrativising to make sense of phenomenological events what we see/hear/taste/smell/touch. Therefore, narrative—and I mean by that the weaving of story to make meaning—is a primary and necessary part of analysing creative output, whether that creative output is considered narrative-based or not. The privileging of meaning in a simplistic or linear sense is problematic particularly in the light of literary and artistic movements that have revolutionised the way we understand and use nonlinear narrative such as postmodernism and surrealism. However, this acknowledgement is not to suggest that meaning is redundant or narrative is not present or at work in these art forms. Rather, they challenge our ability to narrativise as a recipient of language, metaphor, imagery, rhetoric but they do not negate it. Indeed, in these expressions of art and literature and through this mode of communication, the human capacity and facility to find meaning and to myth-make even in the most difficult of situations becomes most clear.
Referring to Paul Macneill's work, Woods raises an interesting and important point about artists such as Stelarc and Orlan who, in her words, want to suggest ways of "exploring the discontinuities and disruptions of embodied self-experience" (p.76).5 These artists, she argues, "resist the principle comforts of narrative—continuity, closure and containment—in the pursuit of the paradoxical, the ambiguous and undecidable" (p.76).5 Yet, Woods's reference to the 'comforts of narrative' seems a rather narrow interpretation of what 'narrative' itself might be. Not all narrative has to have 'continuity, closure and containment'. Significant movements in literature and in critical studies such as postmodernism, poststructuralism, New Historicism and reader-response theory, to name but a few, have brought about fresh understandings of self, identity and narrative perspective in their use of and engagement with linearity and chronology. Indeed, by its very definition, one could argue that stories of illness in particular reject the 'comforts of narrative'. So often, illness narratives exhibit emotional responses to feelings of confusion, silence, denial, disgust, shame and anger that deny that idea of 'continuity, closure and containment' to which Woods alludes. Yet, the listener, reader or witness to the story must find a way to make sense of what he or she hears or sees. Reader-response theory is particularly relevant here because in a medical humanities context this is where narrative response becomes central to an understanding of another's illness and suffering. When Louise Rosenblatt introduced reader-response theory in 1938, she referred to the processes readers use to create meaning and experience.14 Rosenblatt proposed that analysis takes place through the reader's emotions, hopes and fears, experiences and knowledge, rendering each interpretation subjective and unique. Woods is right to suggest that 'language is not the only medium for communicating matters of medicine, health and illness' but she does not acknowledge that in order to make sense of how illness is communicated and what it means, narrative ordering and a (perhaps predominantly internal) linguistic framing is required. A photograph, for example, is clearly a visual medium and does not require language in and of itself to convey a message. Once we seek to make sense of and communicate the meaning that we find within it, however, we require narrative. I do not know how metaphor can exist without the linguistic apparatus that carries it. Even the quote that Woods uses from Kirmayer to exemplify her point discusses metaphors as the 'building blocks of narrative' that serve as 'narrative opportunities' to 'drive the story onward' (p.76).5 Given that Woods too acknowledges that non-narrative forms 'intersect with or contribute to narrative' but do not take storytelling as the starting point, her argument suggests that it is necessary to expand rather than limit the boundaries of narrative? Like photography, phenomenology, too, requires a narrative carrier; and although this may be conveyed through body language, sign language, linguistic language, music, film or philosophy, experience nonetheless requires narrative ordering by the receiver/responder to make sense of it. Although Havi Carel has argued that "[p]henomenology can be used to order and describe the experiences of illness and provide a robust account of the embodied nature of illness" (p.100),15 she neglects to note that phenomenology is not a pure form of expression. The assertion that it can be used to 'order and describe' experience strikes me as a process that employs narrative structures to make story and, ultimately, meaning.
In terms of the interpretation and interpretability of illness, this is a useful way of employing narrative in medical humanities contexts. Medicine can use narrative to 'treat' (in all the ways in which that term might be used helpfully) the failures that occur to make sense of patients' stories. Narrative engagement in these terms can heal.
Modern popular culture bespeaks an overwhelming willingness and need to tell our stories of illness through various narrative outlets. As the history of literature has become more and more about the individual, so has this branch of writing become ever more centred on the personal experience of living and dying with disease, illness and bodily disorder so that "by the end of the twentieth century, illness and disability narratives were established as literary genres" (p.2).17 Brody has helpfully argued that "we can best understand what it means to be sick by attending carefully to the stories people tell about sickness" (p.28).10 Stories, he argues, are both complex and inherently flawed pieces of meaning-making. He observes that stories are required to be seemingly paradoxically both straightforward and complicated because, as J. Hillis Miller has shown, "each storytelling is a retelling, making the story into a sign, but neither a perfectly straight line nor an infinitely convoluted line can serve as a sign" (p.32).10 The literary critic and narratologist, H. Porter Abbott, has suggested that "human beings have a cognitive bias toward the clarity of linear narrative in the construction of knowledge" (p.143).18 But despite this, Abbott's 'cognitive bias' for 'linear narrative' (my emphasis), which has been seen as the privileged form of narrative in medical humanities scholarship, captures the complex stories that make up our belief systems about who we are, where we have come from and what life and death might mean. Although Brody, too, has reservations about the sense of linearity of this form of narrative, it is nevertheless, for him, meaning-making. Moreover, receiving and responding to the articulation of the subjective experience of feeling, emotion, pain, suffering, fear and anxiety are key to our making sense of the world. Simply put, no matter how inconsistent and imperfect, no matter how convoluted or truth-devoid our stories of illness are, it is the way in which we engage with them—the stories around stories that we form—that enable us to shape the world in the way that we do.
Jurecic has noted that literary critics have a degree of 'disdain for or disinterest in illness memoirs' (p.3)17 and Kathlyn Conway has suggested that "personal memoirs of illness and disability have proliferated [… and …] have become a subject not just of attention, but sometimes of scorn, among literary critics" (p.9).19 In this light, it is rather surprising that scholars of literature and culture have turned their hand to writing illness narratives of their own. The respected feminist theorist, Susan Gubar, published her Memoir of a Debulked Woman: Enduring Ovarian Cancer in 2013.20 An intensely personal and deeply autobiographical account of her experience of being diagnosed with and undergoing treatment for ovarian cancer, Gubar's book gently eschews any discussion of the academic validity of her literary endeavour. Instead, she simply suggests in her foreword that "The composition of this narrative kept me sane during a hard time. It let me come to terms with my attitudes toward death, with my ideas about the resonant role played by the arts as we live with awareness of death, and also with my family history and the loves of my life. […] Go little book, I want to say, do some good in the world" (p.xiii).20 Gubar seems to acknowledge two functions of her book: first, it is writing-as-therapy and second, she hopes it will help others in her situation. This is clearly not a scholarly endeavour; it is a thought experiment in death and dying, a book that reaches beyond the academy, and is unapologetic in its approach and content. Gubar wants to make a specific kind of difference in the world before she leaves it. She wants to relate, to tell, to reveal, to reach out on a human level. She appears to feel no particular tension between her role as literary scholar and illness narrative memoirist.
And why should she? Surely, narrative endeavours to express suffering and pain are available for everyone. Surely these expressive forms have a legitimate place in the world. Surely, as her hope that her book will "go […] and do some good in the world" suggests, text might heal, might offer solace and understanding where other forms of communication do not. And yet the writing of this book does raise questions about the very nature and value of these types of narratives. What do such writings hope to achieve (what does 'some good' mean?)? What access to meaning-making do these narratives give us that other forms of expression such as art and performance do not? What are the limits of this kind of narrative in articulating, representing and demonstrating how we feel and our (sick) selves? To what extent does the interpretation of narrative drive how we respond, in terms both cultural and personal, to the illness of others, and in turn, ourselves? Perhaps most pertinently: why do we perceive an uncomfortable disjunction or paradox between Gubar's role as critic and her experience of being a (vulnerable and fallible) being in the world?
In modern Western cultures, where dying is failure, getting old is taboo, and illness is unspeakable, concealing narratives of loss and death among stories of success and victory over disease and illness creates a false sense of security in the face of mortality. Our interpretive skills are blunted, and our narrative cogency distorted, by stories that do not reveal a real sense of what it is like to be seriously ill or dying.
An alternative viewpoint, however, lies in a well-known television interview that took place in the mid-1990s. In 1994, Melvyn Bragg famously televised an interview with Dennis Potter as he was dying of pancreatic cancer. Best known for his television series The Singing Detective (1986), Potter had been writing screenplays for the BBC since 1965 and was a much-loved and well-renowned writer. In the opening section of the interview, Bragg questions Potter about his cancer, essentially starting the interview at the end of Potter's life. In his response to the question 'How did you, and when did you, find out that you'd got this cancer?', Potter begins to narrate a new way of seeing the world as a dying person: Below my window in Ross […] the blossom is out in full now … it's a plum tree, it looks like apple blossom but it's white, and looking at it, instead of saying 'Oh that's nice blossom' … last week looking at it through the window when I'm writing, I see it is the whitest, frothiest, blossomest blossom that there ever could be, and I can see it. Things are both more trivial than they ever were, and more important than they ever were, and the difference between the trivial and the important doesn't seem to matter. But the newness of everything is absolutely wondrous, and if people could see that, you know. There's no way of telling you, you have to experience it, but the glory of it, if you like, the comfort of it, the reassurance … not that I'm interested in reassuring people, bugger that. The fact is, if you see the present tense, boy do you see it! And boy can you celebrate it.
For Potter, the experience of dying is not easily narratable ("[t]here's no way of telling you, you have to experience it") and yet the desire to try to capture it persists; he goes on attempting to define it by describing 'the glory of it', 'the comfort of it', 'the reassurance' it brings him. The use of these nouns—'glory', 'comfort' and 'reassurance'—is telling: clearly designed to bring about a sense of succour and consolation both for him and for his audience (the witnesses of his dying), Potter refuses the impossibility of relating his experience of illness. Instead, he opens the possibilities of meaning up to those who see and hear his story. As the interpreters of Potter's death narrative, for example, we might see the natural imagery that he uses to describe seeing the blossom as representative of both life and death. The blossom captures the transitory and temporary nature of life and the inevitability of death and decay. It is beautiful but its beauty is fleeting.
What we have in the above passage from the interview are examples of the three so-called non-narrative forms of communication that Woods puts forward as alternatives to narrative: metaphor, phenomenology and photography (in this case, film). These forms of expression may or may not be categorised as narrative in and of themselves. However, the only way we can become effective interpreters of another human being's plight, as I have attempted to show in the short piece of critical analysis of this passage above, is through narrative engagement. It is only through narrative that we gain access to Potter's world and get a sense of what he is experiencing. We become effective witnesses to his predicament, valuable listeners of his story.
Although this is essentially a failure narrative (Potter will not survive his cancer and does not pretend that he will), the message in the Potter–Bragg interview might be perceived as uplifting because he has a constructive and affirmative attitude to dying. For him, the process brings fresh perspective of the world: he sees with new eyes that which—without the knowledge of impending death—he had long taken for granted. Perhaps—looked at in this way—his is one of the plethora of 'triumph narratives' of modern times after all. He suggests that the dying are given privileged access to a better way of seeing the world, very different from the one he perceived as a non-terminally ill person: 'you have to experience it' he tells us, it is not something he can fully describe through language. The interview gives Potter a way of expressing what he is going through, although the limits—and the illimitability too (his viewer can make of it what they wish)—of that expression are evident. Perhaps the lesson to be learned from Potter's interview is that we need to embrace the seeming limitations of narrative. He says he cannot articulate what he sees and feels and yet, watching the interview, there is clearly an affective element that is transferred to his audience, to say nothing of his communication of wonder. What Potter shares is his imaginative response to the dying process, one in which his viewer-listener participates both as (most probably) a non-dying person and as a witness to his suffering. It is the way in which we interpret Potter's words that provides narrative agency that gives his experience meaning and significance. Listening and responding (rearticulation, analysis and understanding) are key to Potter's voice being heard, his experience being validated, his life—and death—having significance in the world.
Given the rise of the autobiographical illness narrative over the last 20 years, the emerging provocation to the medical humanities is both surprising and—one might have thought—unnecessary. In recent years, some narratologists have understood life-writing to pose important questions about the relationship between self and identity. Paul John Eakin has argued that "when it comes to autobiography narrative and identity are so intimately linked that each constantly and properly gravitates into the conceptual field of the other." He concludes, 'narrative is not merely an appropriate form for the expression of identity; it is an identity content' (p.100).23 As Woods has pointed out, the movement against narrativity that philosophers such as Galen Strawson and Crispin Sartwell have begun represents a resistance towards the seeming obligation to 'find life meaningful' (p.76).5 But where exactly does this get us? We do not, of course, have to find life meaningful, however thought-provoking as this argument is, I wonder what this kind of philosophical approach really achieves.
It is clear that narrative is both problematic and requires problematisation to be useful to our thinking in this discipline. This essay does not seek to provide answers, necessarily, but to reassess the placing of narrativity in our emergent field of enquiry. Narrative is a constructed artifice, no matter who is doing the constructing or why; it does not exist outside and beyond the human and it does not accurately reflect events, but on the other hand perhaps it does so as much as anything else. It is, of course, a contested and contestable way of mediating the world, one fraught with complexity and intricacy. The boundaries of narrativity, then, should be expanded to include those forms of expression that Woods refers to as non-narrative because even (and sometimes especially) non-verbal expression requires language and narrative ordering in the construction of expression and in the process of meaning-making. Each time we make an effort to produce an expression of suffering, we demand a cognitive engagement that requires the ordering information into narrative. We seek out communication; we desire the transmission of an idea. This is narrativity and it takes a myriad of forms.
I am grateful to the organisers for providing this fertile forum for debate on the topic. I would like to thank Dr Stella Bolaki (University of Kent) and Professor Pamela Gilbert (University of Florida) for their insightful comments on early drafts of this essay and Professor Simon James (Durham University) for his helpful feedback and encouragement on the piece.
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. Integrating narrative medicine and evidence-based medicine: the everyday social practice of healing. London: Radcliffe, 2011.
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. The wounded storyteller: body, illness, and ethics. Chicago, London: University of Chicago Press, 1997.
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. The literary mind. Oxford: Oxford University Press, 1996.
. Beyond the wounded storyteller: rethinking narrativity, illness and embodied self-Experience". In: Carel H, Cooper R, eds. Health, Illness, and Disease: Philosophical Essays. Durham: Acumen, 2013.
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. Unnarratable knowledge: the difficulty of understanding evolution by natural selection. In: Herman D, ed. Narrative theory and the cognitive sciences. Stanford: Center for the Study of Language and Information, 2003.
. Illness and the limits of expression. Ann Arbor: The University of Michigan Press, 2007.
. Memoir of a debulked woman: wnduring ovarian cancer. New York, London: Norton, 2012.
. Works of illness: narrative, picturing and the social response to serious disease. Ashby-de-la-Zouch: InkerMen, 2009.
. Teratologies: a cultural study of cancer. London: Routledge, 1997.
. How our lives become stories: making selves. Ithaca, London: Cornell University Press, 1999, p. 100.
A shortened and earlier version of this paper was presented at the 'Attentive Writers: Healthcare, Authority, and Authorship' conference at the University of Glasgow in August 2013.
Contributors I am the sole author of this piece of work and I can confirm that I meet all the specifications according to the ICMJE guidelines for authorship (1) substantial contributions to conception and design, acquisition of data, or analysis and interpretation of data; (2) drafting the article or revising it critically for important intellectual content and (3) final approval of the version to be published.
Funding statement This research was completed in part with funding from the Centre for Medical Humanities at Durham University and in part during a Medical Humanities Research Fellowship held at the Institute for Advanced Studies in the Humanities at the University of Edinburgh.


For anyone considering using ringworm treatment products, we've put together a short primer to cover some basic things you should be familiar with. We'll cover subjects such as what exactly is ringworm, what ringworm treatment products do, and the effects you'll experience over time. We'll also offer a few suggestions on what you can do to maximize the results you'll experience while using any ringworm treatment product.
Before discussing ringworm treatment products, we wanted to take a quick minute to go over what exactly ringworm is. Ringworm is a skin condition that is caused by a fungus that lives and multiplies on the outer layers of skin. It is not caused by a worm or any other parasite!
Another name for ringworm is Tinea. There are 119 different strands of Tinea and it can infect any part of the body. It is highly contagious and is usually spread by sharing contaminated objects such as clothing, sports equipment, telephones, hairbrushes, towels, or by direct contact with an infected person or animal.
A typical case of ringworm resembles a swollen, red, scaly ring with what appears to be healthy skin at its center. As the condition becomes worse the ring will expand and become larger. The skin will appear inflamed and will itch intensely.
Ringworm treatment products may work to ease the itching and discomfort associated with ringworm. We recommend a combination of all-natural supplements and topical solutions.
The all-natural supplements are anti-fungal and they can help your body to fight off the infection by giving your immune system the extra power it needs.
The topical treatments work to relieve the itching and burning caused by ringworm as quickly as possible. It also works to destroy the surface fungus immediately. In addition, both of these products may help to prevent you from contaminating other people or animals.
The result of these supplements and/or topical treatments is the elimination of your ringworm and an increase in your overall feeling of wellness and self-confidence.
Many people will experience a noticeable improvement in their condition fairly quickly. However, it is important that you continue to take/use the treatment product until it is finished in order to completely treat the ringworm, this may also help to prevent reoccurrences. Everyone tends to experience slightly different results due to individual body chemistry and composition.
Many people begin to see results within 1 to 5 days (depends on the type of product) with maximum results being obtained in 21 days. Just like conventional medicines, herbal ringworm treatment products do not provide an "instant" solution, it does take a few days for the ringworm to completely heal.
Due to the fact that most of the ringworm treatment products we reviewed are all natural herbal supplements or topical solutions, you should not experience any side effects. Women who are pregnant, lactating, breast feeding, or who are allergic to any of the ingredients should not use ringworm treatment products. Keep in mind also that people with special medical conditions should consult their physician before use.
In order to get the most benefit from ringworm treatment products, there are a few other things that you can do.


Dinner's done in a hurry when you toss linguine with a no-cook sauce of fresh zucchini ribbons, tuna, and capers.
Cook linguine as label directs. Meanwhile, with vegetable peeler, peel zucchini into wide ribbons. Drain pasta.
Toss with zucchini, tuna and oil, tomatoes, capers, and salt and pepper.


text:
from . import linsys, deflation, recycling, utils
__all__ = ['linsys', 'deflation', 'recycling', 'utils']
__version__ = '2.1.1'

redpajama_set_name: RedPajamaGithub


How do you compare Aol vs Google?
Aol used to be my go to account. I loved it and gladly paid the monthly fee.
Since AOL GOLD came into the pictures I've had nothing but issues and aggravation.
Today I spent three hours with customer service in Manila only to have them offer to fix my Google account??? In comparison my Google account has never given me issues and I will shortly be transferring my PFC to them and closing the AOL down.


Psychotherapy in Grantham and Newark – Dr. Michael G Millett is a well-established professional and experienced Solution-Focused Integrative Psychotherapist. In his work at Psychotherapy in Grantham, he integrates psychotherapy with hypnotherapy, EFT, NLP and Life Coaching. He has been in full-time private practice since 1995 in London and relocated to Grantham`s Town Centre at the end of 2011.
He is trained to offer brief therapy as well as mid term, and longer term therapy.
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Michael uses several different therapeutic techniques to help a client`s issues in his work at Psychotherapy in Newark because he sees each individual as unique and distinctive. These are drawn from the most suitable approaches for a client with him blending and integrating aspects of various approaches which he thinks will be beneficial and to best help and support his clients. He is concerned not only with what works, but also why it works.
Talking with Michael with psychotherapy in Grantham can support you through difficult times and help you create change in your life. His work can help a wide range of emotional difficulties including: depression, bereavement, eating problems, phobias and obsessions, self-harm, addictions, anxiety, abuse or trauma, identity confusion, relationship breakdown and feeling lonely and abandoned.
Different people with different needs require different approaches at different times. Michael aims to produce the most effective therapy for each individual client through Psychotherapy Newark.
Dr. Michael G Millett, Psychotherapy Grantham providing professional Psychotherapy to the people of Grantham, Newark and Lincolnshire, Nottinghamshire, and Leicestershire – including Sleaford, Bingham, Stamford, Bourne, Oakham, Melton Mowbray, Lincoln and Nottingham.


text:
Q: Problem reading user ID to reply to message. Telegram bot with Aiogram I am using iogram to create Feedback Bot on Telegram. When a bot receives messages, it forwards them to me, after which I reply to them with bot.send_message (message.reply_to_message.forward_from.id, message.text). When the user has permission to forward messages in the privacy settings, then everything is fine, but if not, then the ability to reply to the message disappears. The question is: How can I reply to messages if the user has disabled permission to forward messages in the privacy settings?

A: Chain
Customer -> Bot -> You -> Bot -> Customer
Customer + Bot
In Customer -> Bot and Bot -> Customer communications, participants can see each other.
Thus, even Customers restricts the forwardind of messages, bot can still answer, because it answers to direct (not forwarded) message.
You + Bot
For Bot -> You -> Bot communication use simple (not forwarded) messages.

*

*Just link Customer's message to some ID - your_tracking_id

*Add ID to Bot's message, e.g.:

New issue: #id{your_tracking_id)
Oleg:
    Hello World

*When you reply to Bot's message it can get Customer's message credentials (chat.id, message.id) linked with your_tracking_id

redpajama_set_name: RedPajamaStackExchange


text:
A friend was taking a trip to Ireland and asked if
One of us hops like a bunny down the steps, has a
I haven't had a bagel in ages, but when I saw th
✌🏻
When you really really really want to be best frie
When a stressful week with deadlines ends with Nat
A friend saw this placard and said it reminded her
The face and the daily hiccups… 😍
Sweetnicks
Food and Life
Recipe: Lemony Egg Salad with Basil and Capers
August 19, 2010 · Narrative
A low-fat healthy lunch that is quick to make and full of flavor.
I tend to have a very fickle relationship with egg salad. I probably last had it a good six months ago, if not longer. I like it just fine, but I don't go looking for it very often. I need to be in the mood for it. Or, as the case may be today, be inspired by a recipe for it.
Do we really need a recipe for egg salad? No, not if we're making the basic standard version. This is not that. This recipe for Lemony Egg Salad with Basil and Capers is one of those unique combinations that I never would have thought to put together. Lemon juice? Capers? With egg salad? But then you have it, and can't imagine how you got by without it.
Between the creaminess of the egg salad, the slight sharp tang of the lemon juice, and the salty bite of the capers … it's an unusual combination that just works. You'll have to trust me.
The recipe only calls for a tablespoon of mayonnaise, and I used low fat since I'm not really eating mayonnaise these days. Served on a slice of dark toast, and a clean eating lunch doesn't get much better … and simpler … than this.
August 19, 2010, Photo #148
How is it possible that it's already time to send out invites for our Annual Back-to-School Rainbow Cake party? It seems like just yesterday we were celebrating the end of the school year, and here we are, ready to start a new year already. I've actually never sent out formal invitations, but I was inspired and wanted to do something a little different this time around. Let the fun begin!
Lemony Egg Salad with Basil and Capers
Recipe courtesy of Glamour magazine
Place 4 eggs in a pot and cover with cold water. Cover and bring to boil. Turn off heat and let sit for 15 minutes, uncovered. Drain the hot water and run cold water over eggs until they are cool enough to handle. Peel off shells and chop eggs into medium dice. Set aside. In a medium bowl, whisk the juice of half a lemon into 1 tablespoon of mayonnaise. Stir in one stalk of finely chopped celery and 1 teaspoon capers. Add eggs to the mixture and season with salt and pepper. Fold mixture gently, until eggs are thoroughly coated. Arrange on toast and top with finely chopped basil.
Posted In: Narrative · Tagged: Clean Eating, egg salad, Glamour magazine, Lemony Egg Salad with Basil and Capers, Rainbow Cake
Kris #40 says
I'm not really an egg girl – eat them like twice a year. And every so often crave egg salad – this looks yummy!
Send me up a slice of that cake!
Lydia (The Perfect Pantry) says
I love egg salad, but I'm not a big fan of capers. Still, I can see how the salty, pickly quality would really balance out the creamy egg salad. And lemon and basil, too? I'm in!
Meg says
That egg salad recipe sounds so delicious — and I'm obsessed with capers these days! I've made two dishes with lemon and capers this week alone. So good — thanks for sharing this one!
Ramona says
That sounds like a great recipe to use the haul of eggs from out hens this week.
Luv the invitation!
I enjoy eating eggs every once in a while but often dont think of egg salad. This sounds delicious though. Also looking forward to seeing your rainbow cakes make an appearance on the blog again! Such a fun cake.
lisabella says
My mom put curry powder in our egg salad when I was growing up. I have to do the same, it is just SO good.
I used to LOVE making egg salad! I still enjoy it but haven't made it in a couple of years. I've seen people using hummus instead of the mayo, which would be good, too. Oh, the rainbow cake…LOVE it!
I'll have to give this a try! I love the light mayo.
Eliana says
I have never been a fan of egg salad but this one looks like no other I have ever seen. Rock on girl!
Through photos.
Words. And recipes.
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In the project "Connecting the elderly to the digital world", type KA2 Erasmus + Strategic Partnership, we aim at the digital inclusion of the elderly by promoting the use of tablets. CIDET is a partner in this project coordinated by the Digital Change Foundation of Berlin.
Stiftung digitale chancen de Berlín coordinates this project that promotes the use and use of tablets by the elderly, a manual for the teacher and another for the student will allow the learning of skills related to the use of the tablet, internet access and communication, but the potential to be developed will be what enables the integration and digital inclusion of older people.


text:
What women want /
Tomei, Marisa.
Hunt, Helen, 1963-
Gibson, Mel.
Meyers, Nancy.
Paramount Home Video (Firm)
Icon Productions.
Paramount Pictures.
When a freak accident gives Nick Marshall, a womanizing executive, the ability to hear women's thoughts, he first uses his gift to gain an advantage against Darcy Maguire, his newly appointed female boss.
Features: Interactive menus, scene selection, theatrical trailers, cast and crew interviews, behind-the-scenes featurette, and commentaries.
Widescreen.
Paramount Home Video,
Hollywood, CA : Paramount Home Video, 2001, p2000.
DVD WHATWOM
WHATWOM
A man finds himself getting an unexpected crash course in the psychology of contemporary women in this romantic comedy. Nick Marshall (Mel Gibson) is a successful advertising executive living in Chicago who has long fancied himself a ladies' man, though he has precious little understanding of women beyond figuring out how to seduce them. One day, Nick receives a substantial electric shock in an accident in his bathroom; while he's not seriously injured, when he comes to, he discovers something remarkable has happened -- he can suddenly hear what women are thinking. At first, Nick finds himself learning all sorts of things he didn't want to know, but he also realizes how this can be used to his advantage -- especially after his old boss, Dan Wanamaker (Alan Alda) is replaced by a woman, Darcy Maguire (Helen Hunt). But Nick begins to feel differently about his unusual gift when he discovers Darcy is infatuated with him, and he finds himself falling for her. What Women Want also features Bette Midler as Nick's analyst, Delta Burke and Valerie Perrine as two of his co-workers, and Marisa Tomei as one of Nick's significant others. ~ Mark Deming, Rovi


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text:
Concentration and detection of SARS coronavirus in sewage from Xiao Tang Shan hospital and the 309th Hospital of the Chinese People's Liberation Army
X.W. Wang;
X.W. Wang
*Institute of Hygiene and Environmental Medicine, Academy of Military Medical Sciences, 1 Da Li Road, Tianjin, 300050, P.R. China
E-mail: junwenli@eyou.com
J. Li;
J. Li
**Institute of Microbiology and Epidemiology, Academy of Military Medical Sciences, 172 Dong Da Jie street, Feng Tai, Beijing, 100072, P.R. China
T. Guo;
T. Guo
***Xiao Tang Shang Hospital, Beijing, 102211, P.R. China
B. Zhen;
B. Zhen
Q. Kong;
Q. Kong
B. Yi;
B. Yi
****309 Hospital of PLA of China, 17 Mushanhu Road, Beijing, 100091, P.R. China
Z. Li;
Z. Li
N. Song;
N. Song
M. Jin;
M. Jin
W. Xiao;
W. Xiao
... Show more
X. zhu;
X. zhu
C. Gu;
C. Gu
J. Yin;
J. Yin
W. Wei;
W. Wei
W. Yao;
W. Yao
C. Liu;
C. Liu
*****Beijing Institute of Pharmacology & Toxicology, 100850, P.R. China
G. Ou;
G. Ou
M. Wang;
M. Wang
T. Fang;
T. Fang
******Beijing Institute of Basic Medicine, 100850, P.R. China
G. Wang;
G. Wang
Y. Qiu;
Y. Qiu
H. Wu;
H. Wu
F. Chao;
F. Chao
Water Sci Technol (2005) 52 (8): 213–221.
X.W. Wang, J. Li, T. Guo, B. Zhen, Q. Kong, B. Yi, Z. Li, N. Song, M. Jin, W. Xiao, X. zhu, C. Gu, J. Yin, W. Wei, W. Yao, C. Liu, J. Li, G. Ou, M. Wang, T. Fang, G. Wang, Y. Qiu, H. Wu, F. Chao, J. Li; Concentration and detection of SARS coronavirus in sewage from Xiao Tang Shan hospital and the 309th Hospital of the Chinese People's Liberation Army. Water Sci Technol 1 October 2005; 52 (8): 213–221. doi: https://doi.org/10.2166/wst.2005.0266
A worldwide outbreak of severe acute respiratory syndrome (SARS) had been reported. Over 8439 SARS cases and 812 SARS-related deaths were reported to the World Health Organization from 32 countries around the world up to 5 July 2003. The mechanism of transmission of SARS-CoV has been limited only to close contacts with patients. Attention was focused on possible transmission by the sewage system because laboratory studies showed that patients excreted coronavirus RNA in their stools in Amoy Gardens in Hong Kong. To explore whether the stool of SARS patients or the sewage containing the stool of patients would transmit SARS-CoV or not, we used a style of electropositive filter media particle to concentrate the SARS-CoV from the sewage of two hospitals receiving SARS patients in Beijing, as well as cell culture, semi-nested RT–PCR and sequencing of genes to detect and identify the viruses from sewage. There was no live SARS-CoV detected in the sewage in these assays. The nucleic acid of SARS-CoV was found in the sewage before disinfection from both hospitals by PCR. After disinfection, SARS-CoV RNA could be detected from some samples from the 309th Hospital of the Chinese People's Liberation Army, but not from Xiao Tang Shan Hospital after disinfection. In this study, we found that the virus can survive for 14 days in sewage at 4°C, 2 days at 20°C, and its RNA can be detected for 8 days though the virus had been inactivated. In conclusion, this study demonstrates that the RNA of SARS-CoV could be detected from the concentrates of sewage of both hospitals receiving SARS patients before disinfection and occasionally after disinfection though there was no live SARS-CoV; thus much attention should be paid to the treatment of stools of patients and the sewage of hospitals receiving SARS patients.
Concentration, detection, hospital, SARS-Cov, sewage
CrossRef (124)


È possibile raggiungere Heraklion Marina chiamando VHF12.
Iraklion Marina è un bellissimo porto situato nella città di Heraklion. Questa zona eccezionale offre l'accesso al Mar di Creta e alle sue numerose spiagge sabbiose e acque cristalline. Durante la permanenza in questo fantastico porto dovresti visitare il Museo Archeologico di Herakleion che espone oggetti provenienti dall'antica Grecia. In questa meravigliosa sede si possono ammirare incisioni rupestri e manufatti della civiltà minoica. Se sei interessato ad avere un po 'di divertimento, ti suggeriamo di visitare The Escape House. Questa geniale attrazione metterà alla prova le tue abilità da detective mentre cerchi di risolvere i puzzle che portano all'uscita. I migliori hotel della zona saranno sempre più che felici di ricevere te e la tua famiglia o i tuoi amici e faranno anche in modo che il tuo soggiorno a Heraklion sia uno da ricordare. Il Galaxy Hotel Iraklio, il Lato Boutique Hotel, il GDM Megaron Hotel, l'Hotel LiLi, l'Hotel Hersonissos e l'Atlantis Hotel vi stupiranno con terrazze affacciate sul mare, un servizio impeccabile e personale cordiale.
Heraklion Marina is a beautiful place from Port Heraklion, which is located in the city of Heraklion, Crete. Heraklion Marina has 72 berths available for yachts up to 20 m in length, with a maximum draft of 3 m.
This outstanding area provides access to the Sea of Crete and its many sandy beaches and clear blue waters. While staying in this fantastic port you should visit the Herakleion Archaeological Museum that displays exhibits from ancient Greece.
Rock carvings and artefacts from the Minoan civilisation can be admired in this marvellous venue. If you're interested in having a little bit of fun, we suggest visiting The Escape House. This ingenious attraction will put your detective skills to the test as you try to solve the puzzles that lead to the exit. The best hotels in the area will always be more than happy to receive you and your family or friends and will also ensure that your stay in Heraklion will be one to remember. The Galaxy Hotel Iraklio, Lato Boutique Hotel, GDM Megaron Hotel, Hotel LiLi, Hersonissos Hotel and Atlantis Hotel will dazzle you with seaside view terraces, impeccable service and friendly personnel.
From helpful headlines to descriptive details, you could write the kinds of reviews travelers love a look. Kindly share your feedback regarding your experience in Heraklion Marina to help them improve and tell future skippers / boat owners what to expect.
We strongly advise you to check the weather in Heraklion Marina before your trip.
Heraklion Marina is located in Crete Island.
This map shows Heraklion Marina's specific location.


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HAIRLOSS
SCALPBLOG YOUR HAIR TRANSPLANT GUIDELINE
Home Hairloss Drugs Finasteride, the most effective drug against androgenic alopecia
Finasteride, the most effective drug against androgenic alopecia
Finasteride, the most used hairloss drug.
What is Finasteride?
Finasteride and hair loss
Dosage and formality of assumption
Does Finasteride work?
Side effects of Finasteride
Post-Finasteride syndrome. Does it really exsist?
Finasteride for women
Finasteride is a drug used for the treatment of:
Benign Prostatic Hypertrophy;
Prostate cancer;
Androgenetic alopecia (common baldness)
The drug is produced by the pharmaceutical company Merck. It is present on the american market since 1992 for the cure of the prostatic hypertrophy and since 1997 for the treatment of common baldness. It is available on the italian market since 1997 for the prostatic hypertrophy and since 1999 for androgenetic alopecia. It is a very efficient drug, unfortunatelly sometimes used as doping in the sports world in order to hide some of the sides effects of some nabolic steroid.
It all began in 1974 when Julianne Imperato-McGinley, a New York researcher for the Cornell Medical College, during a debate in a conference about birth defects, presented her research. Her studies had focused on a group of hermaphrodites children who lived in the Caribbean. The children have been grown as females from their families, since their traits were unclear and they presented very small masculine genital organs. During puberty although, the masculine organs developed and their traits changed a lot.
Some studies proved that the genetic mutation of the children was due to a shortage of 5-alfa reduttasi enzyme and, consequently, of the diidrotestosterone (DHT) hormone. That is why the reproductive system had developed uncorrectly. Moreover, it was observed that, after the development, the prostate of the guys was very small.
Focusing on this detail, the leader of the research at the pharmaceutical company Merck developed his idea. He understood that it was possible to synthesize an inhibitor for 5-alfa reduttasi enzyme in order to reduce the dimensions of the prostate for the patients affected by benign prostatic hypertrophy.
Finasteride is a compund of sinthetic 4-azasteroide and it is the progenitor of all the inhibitors of the enzyme responsable for the benign prostatic hypertrophy. It is a white, crystalline substance, soluble in chloroform and insoluble in water.
Finasteride is one of the most prescribed drugs for the treatment of baldness. Androgenetic alopecia, or common baldness, is caused by the action of some androgens hormones on the hair follicles of the scalp.
In particular, the diidrotestosterone (DHT), an hormone that develops because of the action of a specific enzyme (5-alfa-riduttasi type 2) on the testosterone, is the responsabile for the miniaturization of the hair follicles. Hair gets thinner, loses its characteristic color and does not regrow after the fall.
Finasteride is able to oppose the hair thinning by taking action on the sinthesis of the DHT in the tissue, by selectively inhibiting the 5-alfa reduttasi type 2.
Finasteride is prescribed with the aim to reduce the DHT level in order to prevent the miniaturization and, in some cases, to favor a new regrowth.
One of the positive aspects of Finasteride is that it inhibits tha action of the enzyme without stopping the physiological action of the testosterone, a foundamental hormone especially in men.
Finasteride has to be taken orally, if we want it to work properly against hair loss. That is why Finasteride is available on the market as a pill to ingest by mouth.
We remind that, on the market, Finasteride appears with the registered mark Proscar, with a concentration of 5 mg, and Propecia, 1 mg. The daily suggested dosage to fight baldness is 1mg per day.
The maximum concentration is reached in around 2 hours, while the absoption lasts around 8 hours.
Several studies have shown the effectiveness of Finasteride in curing baldness. Around one year after the assumption, around the 50% of the male patients between 18 and 41 years old sees a decrease in the hair loss, while the other half also notices a regrowth. In less that 1% of the cases, Finasteride has been ineffective.
One of the reasons that makes Finasteride so effective is the formality of assumption. Another suggested drug for baldness is Minoxidil, but it cannot be assumed orally.
After orally taking the pill, Finasteride is immediately absorbed by the intestine. After 24 hours it is already possible to record a 65% reduction of the DHT concentration. However, in order to see all the benefits of the drug, it is necessary to keep on assuming it for at least 3 months. The experts suggest, in general, a therapy of at least 12 months, in order to evaluate properly all the achieved effects. Moreover, it is opportune to underline that the benefits of Finasteride last only until the drug is taken and disappear when the therapy is interrupted.
Another matter is the one about women. On them, Finasteride seems to be less effective, especially during the menopause, when the hair loss is due to the estrogens. Women in childbearing age cannot take the drug because of the risk of pseudoermafroditism of the fetus due to the too aggresive action of the hormones.
Finasteride is usually well tolerated by the organism. However, as we said before, it is necessary that the cure lasts long, at least 3 months, in order to see some results against hair loss. In many cases it is necessary to assume the drug for more than a year. That kind of assumption scares the patients, also given the information that can be found on the internet about the sides effects on the sexual sphere. Side effects usually do not show and, when they do, are small. Around 3%-4% of the patients complain about some of the following sides:
Libido decreased: the libido is the phycological ability to respond to the sexual and physical stimulus. It is a pulsion, a desire that guides the sexual act and that makes it pleasant. Without it the sexual act is only mechanical. Libido does not have to be confused with the sexual potency, the strictly physical ability to have sex. Of course it is important to underline how, very often, pshycological dimension and physical act go hand in hand.
D.:inability to have an erection or to keep it, even if there is sexual desire at a pshycological level.
Reduction on the volume of the semen: a decrease in the quantity of the semen produced;
Unilateral gynaemastia: the enlargement of one of the masculine breasts.
Alteration of the spermatogenesis(only if correlated to varicocele or obesity): a process that brings to the maturation of the masculine germinal cells inside the testicles for an hormonal action.
Listlessness: indolence in fulfilling everyday necessities.
Some articles talk about a correlation between Finasteride and prostate cancer, however there is no certain proof of this connection. The sides of Finasteride are transitional and end immediately after the interruption of the therapy.
Around 5 years ago, the american blog "Propecia Help" has used for the first time a term that is nowadays pretty common between Finasteride users: post-Finasteride syndrome.
This term indicates one of the biggest fear of who is about to star a Finasteride therapy in order to fight hair loss and androgenetic alopecia.
With this term we refer to a neurological and psychiatric condition that shows as consequence of the reduction of the libido due to the assumption of Finasteride. Actually, as we said, there are a few studies that show that a little percentage of Finasteride users complain some sides affects on the sexual phere. Libido decreased, E. D. and reduction of the volume of the semen have affected the 3,8% of the users after a year. After 5 years the percentage reduces to 3,5%. However, it has been proved that when the assumption is interrupted, the sides disappear.
For sure, this kind of sides effects have a big impact on the pshycological dimension of the person. A decrease in self-esteem, fear of a permanet damage, discomfort, anxiety are just some of the effects. For a young man, this could be an hard trauma to overcome, and it could last also after the end of the therapy.
However, although the great interest by the pubblic in this topic, there are no studies that prove the existence of the post-Finasteride syndrome.
The drug is effective only on males;
Pregnant women have to avoid touching the pills, since the active substance can be absorbed though the skin. Finasteride can cause a malformation of the external genitals of the fetus.
Since Finasteride is metabolised by the liver, before starting the therapy, you have to be sure not to suffer from hepatic impairment.
Studies about fertility in men in the long term have not been carried out.
Finasteride is approved only for men. However, there are many off-label uses.
In fact, Finasteride is effective on women for the cure of androgenetic alopecia and hirsutism (abnormal hair growth in areas where hair usually does not grow). Although, the researchers recommend to strictly follow the claims of the package leaflet. Years of research are necessary in order to ensure that Finasteride can be taken also by women without risks.
Concealers – Hairloss Camouflage Solutions
Hairloss Drugs – Introduction
Hairloss Supplements
Dutasteride, which is the effect on hair?
It is better to take Proscar or Propecia? Finasteride questions
© Copyright 2019 - Scalpblog, all rights reserved


Luna and I walk on our hillside everyday. Sometimes we get away and walk other places. Spring is a season of change. Everyday, everywhere you look, you can see something new. Here are some images from recent walks.
This vernal pond above our house has not had water this year. By my reckoning, that makes this a dry year. Maybe today's rain and snow will change that.
Waterleaf is in full bloom now.
It's a ground-hugging, diminutive plant.
Up valley, I found the spring beauty to be far more pink than around here.
This snag is a great wildlife tree. It has lots of cavities for cavity-nesting birds and mammals.
Luna found this last patch of snow and rolled around in it.
At the Suspension Bridge along the Methow Community Trail. Compare it to how it looked the last time I went skiing on March 9.
There is a series of William Stafford poems in the Methow. This one is at the Suspension Bridge.
Back at home, the serviceberry is finally blooming. When I drove through Wenatchee on April 1, it was already in full bloom.
Here is a batch of tiny tent caterpillars in the bitterbrush.
Bluebells have been blooming for almost a month.
A currant bush hugging an old lichen-covered fence post.


text:
Moore County's Student Support Services page
Resources for Administrators
Legal and Regulatory Information
Resources for School Staff
Moore County Schools » About Us » Departments » Student Support Services
Dr. Seth Powers
Director for Student
Gina Kelly
Administrative Assistant for
Lucinda Dedmond
Assistant Director for
Dr. Powers has worked for MCS for 27 years as a teacher, principal, and since July 2016, as Director of Student Support Services. Prior to his current position, he served as a principal at Highfalls Elementary, West Pine Elementary and Elise Middle. As Director for Student Support Services, he is responsible for all activities related to student safety, health and welfare including the school nurse program, the MCS Police, counselors, social workers, psychologists and athletics.
Dr. Powers has a Bachelor of Science in physical education from the University of North Carolina at Greensboro, a Master's in School Administration degree from the University of North Carolina at Chapel Hill, and a Doctorate in Educational Leadership from Fayetteville State University.
Lucinda Dedmond has been a school psychologist and school counselor for Moore County Schools for over 24 years. Mrs. Dedmond earned a Bachelor of Arts in psychology and an advanced specialist degree in school psychology from the University of North Carolina at Chapel Hill. More recently, she earned a post-master's Certificate in Educational Leadership from the University of North Carolina in Greensboro.


Alice and her chocolate bunnies.
A DETERMINED young girl who has given up all sweets and chocolate for Lent has raised almost £200 for Primrose Hospice.
Kind-hearted Alice Smith, from The Oakalls in Bromsgrove, has taken on the difficult challenge after "someone really special" was cared for by the hospice, based in St Godwalds Road.
Though the 11-year-old has admitted it has been tough not to give in to temptation, Alice is determined to complete Lent without eating her favourite treats.
Alice said: "I decided to give up sweets and chocolate to try to be healthier and to see if I could do it.
"I also thought I could raise some money at the same time.
Alice has already smashed her original target of £50 and is now determined to raise as much money as she can for Primrose Hospice.
She said: "It's definitely been difficult as I have a sweet tooth.
Mum Naomi said: "I was quite surprised when Alice said she was going to give up sweets and chocolate.
With the end of Lent fast approaching, Alice is already making a list of the first treats she will tuck into after Thursday, April 18.
"I am most looking forward to a double chocolate chip cookie and lots of Easter eggs," she said.
David Burrell, Chief Executive at Primrose Hospice, said: "This is a wonderful story of a young girl who has shown determination and thoughtfulness throughout Lent and also managed to raise some much-needed money for Primrose Hospice.
To sponsor Alice, go to justgiving.com/fundraising/alice-smith2104.


Stephen has steered the digital transitions of several education brands such as the BBC/OU partnership, Hult University, Beijng Normal University, and External Education School at Cambridge University. Current advisory roles are with the European Educational Publishers Group on digital strategy, and content owner ITNEdu in its build of a new business serving media to global ELT publishers. Stephen also chairs the board of ed-tech company Eneza Education, based in Nairbobi, which publishes low-cost courses by mobile phone to around a million young Africans.


Proven track record of profitability.
Electronic centralized billing, extended term availability on inventory purchases, and a retail financing program with aggressive rates.
Aggressive volume rebate program in place.
Corporate Office performs key accounting functions on behalf of stores.
One of the largest Canadian purchasers of floor coverings.
Aggressive marketing team that supports both national and local advertising needs.
A variety of training opportunities in the areas of retail sales, marketing, and software applications are available.
If and when the time comes that you are ready to sell your business, you have the most recognizable name in flooring across Canada to offer. Furthermore, we will also help promote your store to find a buyer for it. As part of our company, you will have an attractive package to offer including everything noted above. Importantly for you, is the fact that you have something very tangible to attract buyers, and the ability to leave with at least the current value of what your store is worth, an hopefully much, much more!
Our Annual Convention consists of our General Meeting for Members, trade show market with our Preferred Suppliers, and plenty of time for your chance to communicate with the other Franchisees, as well as a first-class venue and experience.


text:
Kurata ist der Familienname folgender Personen:

 Kurata Chikara (1889–1969), japanischer Unternehmer
 Kurata Hakuyō (1881–1938), japanischer Maler
 Kurata Hyakuzō (1891–1943), japanischer Schriftsteller
 Kōhei Kurata (* 1990), japanischer Fußballspieler
 Masayo Kurata (* 1969), japanische Synchronsprecherin
 Nathaly Kurata (* 1993), brasilianische Tennisspielerin
 Ryūichi Kurata (* 1986), japanischer Eishockeyspieler
 Shigeki Kurata (* 1972), japanischer Fußballspieler
 Shigeo Kurata, japanischer Sachbuchautor und Botaniker
 Shirley Kurata (* 1970), US-amerikanische Kostümbildnerin
 Shū Kurata (* 1988), japanischer Fußballspieler
 Tetsuo Kurata (* 1968), japanischer Schauspieler
 Yasuaki Kurata (* 1946), japanischer Schauspieler
 Yasuharu Kurata (* 1963), japanischer Fußballspieler

redpajama_set_name: RedPajamaWikipedia


text:
Q: Qt C++11 lambda: Is this connect (signal-slot) correct? I am using Qt5 (C++11 enabled) on Windows7.
In my app I have something like this:
connect(ui->alarm, &QCheckBox::stateChanged, [this]{
  (ui->alarm->isChecked()) ? m_timer.start() : m_timer.stop();
});

where alarm is QCheckBox and m_timer is a QTimer.
I want to start/stop the timer on-the-fly, according to the status of the alarm check-box.
I tested, It seems to work, but I'm not sure if it's 100% ok... or if there's a better lambda to do it?

A: connect(ui->alarm, &QCheckBox::stateChanged, [this](int state){
  state ? m_timer.start() : m_timer.stop();
});

That way you don't need to refer to ui->alarm.
In QCheckBox::stateChanged(int state), the state really is a

enum Qt::CheckState
Qt::Unchecked = 0 The item is unchecked.
Qt::PartiallyChecked = 1 The item is partially checked. Items in hierarchical models may be partially checked if some, but not all, of their children are checked.
Qt::Checked = 2 The item is checked.


text:
WHAV (https://whav.net/2020/08/21/haverhill-health-board-defers-for-now-to-school-department-on-new-state-school-reopening-guidance/)
Haverhill Health Board Defers, For Now, to School Department on New State School Reopening Guidance
By WHAV News Staff | August 21, 2020
Haverhill Public Schools' Physician Dr. John Maddox and Director of Health and Nursing Services Katie Vozeolas previously addressed the City Council. (WHAV News file photograph.)
Haverhill's Board of Health says it expects to defer to the judgement of the school department when issues arise relating to the coronavirus once students return next month.
During an emergency meeting of the Health Board and members of Mayor James J. Fiorentini's newly appointed Medical Advisory Panel, school pediatrician John L. Maddox explained he is looking for consistency.
"We're making sure we're beginning now and that we've got the roles and responsibilities between the city side Board of Health and the School Department clarified…the city is not saying one set of rules and the schools have a different set of rules," Maddox said.
Haverhill Public Schools Director of Health and Nursing Services Katie Vozeolas noted the Health Board might differ with new guidelines released Wednesday by the state Department of Elementary and Secondary Education. For example, she said, the state does not suggest dismissing an entire classroom if one person exhibits COVID-19 symptoms. Instead, Vozeoloas said, state education officials suggest only close contacts within six feet of the infected person and who have had more than 15 minutes of exposure should be dismissed.
"I think we'll need to do a good bit of education within the classroom setting with the teaching staff so they understand that because, of course, they're going to be nervous," she said.
City Public Health Nurse Mary Connolly said the state guidance is similar to how communities handle cases of whooping cough. She explained cough surveillance is undertaken for the remainder of students beyond the six-foot radius.
Health Board Chairman Peter Carbone said most decisions are best left to the schools.
"Personally, I would defer to the school health department more than the city Board of Health on the school issue. It's nice that we're in the loop on it, but I think they have a better feel for what's going on in the schools than we would," said Carbone.
The other Health Board member present, Alexander Matolcsy, said he sees state guidelines as being flexible to meet specific and unique community needs. He suggested Vozeolas and Connolly work together to field any concerns.
While the Health Board is willing to help if specific issues arise, Carbone said he'd rather let full-time staff make the calls. "I'd much prefer Mary and her staff to make these determinations. They're the boots on the ground. Not us."


I'm a bit of an amateur historian so I like to keep things in order. Since I'm mostly a historian of my own life and work that really comes down to putting names and dates on things. I used to write the names of all the people in my photos on the back of the photos but since the advent of the digital age I instead put the names of the people in the files names themselves. I also took to naming all my drawings and paintings just so I could call them something to help keep track of them. Then I date stuff. Names and dates makes digital files a lot easier to find.
I recently posted an old photo from 1988 in my college Facebook group. It was of our Senior Seminar class out side on a nice day. I'm glad I wrote names down on the back of the photo so many years ago because I sure couldn't remember them all now. There was one person I couldn't even remember existing even though her name was right there. There were only about a dozen people in class and many of them a mystery to me now. Time is like that.
I bring this up because I've been contemplating time and memory recently because of old photos and videos. It started with a photo of mine of where I used to work in the Marvel Bullpen from sometime in 1993. I wish I could narrow the date a little more that that but I can't without a bit more digging. Y'see, the flaw in my system from back in the 1990s, my 35mm film days, was that I only dated the photos that made it into my photo album. Sometimes, as in the case of these 1993 Bullpen pictures, I would take panoramic shots of one place or another to be used as fodder for some large collage. These photos were grist for the mill and never made it into an album. Or at least the vast majority of them didn't. There may be one or two in there to help me date things but that will take a little more digging. Time has won in this case so far.
I posted the large 1993 photo on Facebook for the enjoyment of my old Marvel colleagues and one of them mentioned that he had a video of his last day at Marvel from around that same time. I, and others, encouraged him to digitize and post it so we could all watch it and so he did. It was, of course, fantastic to see the place we used to work and the people we used to be twenty three years ago but it was also a very strange experience. I wasn't even in this video but that didn't matter because the people and place were so familiar.
Then I was briefly king of 90s Marvel nostalgia for a moment. The 1993 video inspired me to re-post the video I had from when MTV broadcast from Marvel comics back on February 10, 1992 (I know the date because it is written on the tape). I had posted the video when I was first on Facebook back in 2008 or so but it has long since disappeared from Facebook in one of their many upgrades. Things like that happen. Video becomes incompatible and goes away. So I decided to repost it on my YouTube channel.
I pulled out the old VHS tape, stuck it into my last remaining VCR, turned on my digital video capture box that hadn't been on in years, and made a fresh new digital file of it. The old files were posted in individual short segments but for this one I edited all the segments together into one six minute video. It was a blast from the past. There were a whole bunch of us in the Marvel boom years being interviewed a little bit on TV. Young, goofy, and full of life. I've had this tape since 1992 so it made no new memories for me but I'm sure it did for others.
Social media sure has changed since 2008 when I first posted the MTV at Marvel video. A couple of comic book websites picked up on the video's existence and wrote little articles on it an linked to it. Soon it had 11,000 views. Not a ton of views in YouTube terms but way more than saw it when I posted it in 2008 and way more than any of my other comic book haul videos on my YouTube channel ever get. It was a strange thing.
The last little bit of photo related time has to do with my street photos. Some of my early street photos were among the odds and ends that I scanned in a few weeks ago. Once again since they didn't make it into photo albums they had no dates. I only knew they were taken in the mid 1990s or so. I posted one of the photos on Instagram and it frustrated me a bit that I didn't know the date. In working on a second photo I noticed there was a sign on the street that said "NYC 1997". It thrilled me to no end to know the year the photo was taken. That's better than not knowing.


RESTOKE first ladies eco-fleece pullover hoodie has arrived! You'll adore this super-soft and wildly comfortable hoodie – perfect for going out or lounging around the house. The hoodie's kangaroo pockets and attached hood with drawstring will keep you warm and cozy. This great fitting hoodie will be in your closet for years to come!