Disulfiram is an alcohol-abuse deterrent. It works by blocking the breakdown of alcohol, causing unpleasant side effects (eg, vomiting, upset stomach) when even a small amount of alcohol is consumed.
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Disulfiram reaction drugs usmle fentanoate and vinblastine were also identified. The chemical structures of these two compounds are given in Table 1. Methamphetamine, methamphetamine hydrochloride, 3,4-methylenedioxymethamphetamine, 3,4,5-trimethylamphetamine and 2,5-dimethoxyamphetamine were identified as compounds involved in this toxicity. The major finding was a three-fold more extensive use of the drug in animals that received the drug than in drug-naive animals. Among the drugs found to be present at high levels in brain was 3,4-methylenedioxymethamphetamine, the precursor for central nervous system dexfenfluramine, the antidepressant fluoxetine, anti-craving drug sibutramine and the blood pressure reducing drug rolipram. Most animals died within 2 weeks of being given the drug, with most common causes being cerebral and cerebellar edema, metabolic acidosis, as well brainstem damage, in both sexes, after intravenous use. males and females exhibited a delayed onset of neurological signs and clinical toxicity. The researchers measured percentage change in the weight of brain after administration different doses of amphetamine and the drugs with disulfiram like reaction concentration drugs in blood before, during and after the test. They also measured metabolic enzymes, the major indicators of neurotoxic poisoning, in brain tissues of each strain, showing very high values of damage in these tissues all strains, indicating that these animals were more susceptible to amphetamine toxicity than other strains shown. This study shows that there is a lot of variance in the tolerance levels reported between different drugs by species which might explain why it is difficult to measure tolerance of the various drugs. study shows that the clinical signs Esomeprazole 40 mg price of amphetamine toxicity and the severity of clinical signs vary by age, sex, strain and dose of the drug tested. "It has been shown that the tolerance level for both amphetamines is pretty high," explains study co-author Dr. S. D. M. Ramesh. "It is clear that the tolerance level in animals is quite different and could explain the differences in their susceptibility to clinical effects," adds co-author Dr. Sushila Thapa, professor of the departments neurobiology and physiology at UBC, who participated in the study. The scientists also looked at how the tolerance level varies according to the dose of drug. team found that amphetamine tolerance levels are highest in animals that were on low doses, with a lower percentage tolerance, thus demonstrating that, at lower dosage, tolerance tends to be the most important factor determining ability to tolerate the drug. The most striking difference was seen between male and female animals, with males displaying a much lower tolerance level than females. It appears that males, at lower doses, will exhibit little signs of toxic poisoning compared to females. The researchers found that tolerance level was highest in the brain at about six weeks after the administration of an amphetamine dose 10mg/kg. The tolerance level continued to improve for 18 weeks even in the first week of test, which is similar to what seen in humans after a first prescription or substitution. "This first clinical study of amphetamine toxicity on rodents gives crucial and definitive indications to guide future studies of tolerance in humans," explains co-author Dr. Ramaswamy Suresh, deputy director, World Health Organization (WHO), in Tokyo. "Further investigations are needed to develop animal models of tolerance to amphetamine and for disulfiram like reaction drugs better understanding of tolerance in humans"
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“Poeziile Mariei Mănucă sunt în mare parte de atmosferă, asumându-şi principiul enunţat mai de mult de G. Bachelard, conform căruia actul poetic reprezintă o metafizică instantanee /…/ Semnificativ în aceste poeme este felul în care culoarea capătă o anume referenţialitate, într-un cod al clarificărilor lăuntrice, cu peisaje gata să divulge tainele <vechi> ale fiinţei /…/ Poezia aceasta se hrăneşte din interjecţia culorii, din transcenderea instantanee a nuanţelor care se proiectează în noi, selectându-şi sentimente şi combustii imaginare. Tocmai această răsturnare de realuri, prin care densitatea de tonuri migrează spre trăiri şi cuvinte, face să existe această aventură lirică jubilativă, venită din perspectiva experienţei plastice, mereu dornică să smulgă ceva din omonimia şi muzicalitatea lucrurilor” (Cristian Livescu).
“În volumul Joc cu aşteptarea, pictorul şi poetul se despart: primul rămâne în atelier, celălalt coboară în sine şi descopere tulburarea seninului de altădată; în “clarul zilei”, se adună “drojdii indescifrabile”, iar vârstele, mâinile şi crengile sunt <sticloase>, o pendulare între zorii de zi şi înserare, între naştere şi pierdere. Maria Mănucă a lucrat întotdeauna în liric în zona clar-obscurului, tehnica de pictură e acum o dimensiune poetică asumată: <un triunghi de umbră> ascuns în fiinţă. /…/ Venezia profundis este unul dintre cele mai interesante şi substanţiale experimente lirice din stricta noastră actualitate literară” (Ioan Holban).
“Maria Mănucă ne invită în zona clar-obscurului, destrămând forme şi estompând contururi, reamintindu-ne că pictorul şi poetul convieţuiesc în aceeaşi fiinţă, propunându-ne caligrafii delicate” (Adrian Dinu Rachieru).
“Puritatea, emoţia şi prospeţimea asigură valoarea estetică a poeziei. Maria Mănucă se înscrie în grila aceasta, la care adaugă ceva ce-i este strict caracteristic: intelectualizarea emoţiei” (Nicolae Busuioc).
“Ceea ce e definitoriu însă pentru întreaga <recoltă> poetică a Mariei Mănucă rămâne plasticitatea imaginilor, autenticitatea sentimentelor, erudiţia bine temperată prin motive, alegorii şi conotaţii folclorice sau mitologice, de sorginte livrescă” (Ilie Dan).
“Poeta-pictor este în prezent într-o formulă de expresie poetică esenţializată, prefăcând în poezie tot ce atinge şi apelând la o recuzită devenită modernă din alchimia versului descriind imagini, unele dintre ele suprapuse pictural-crepuscular, de vulcan sub tensiune /…/ Maria Mănucă afirmă o luciditate distinctivă. Prezentă în scrierile sale (ca şi în pictura sa), metafora cuprinde împreună cu pictoriţa şi poeta ceea ce înseamnă <surorile Morgana>. Eleganţa scrierii şi firescul ei cuceresc sensibilitatea şi judecata” (Ion Hurjui).
“Poezia / Mariei Mănucă / e o adevărată fugă în la minor pe lângă o linie frântă gata să explodeze în culori de o rafinată ţinută, când devine orizont. Pentru că această linie frântă nu este altceva decât eterna noastră descoperire şi de multe ori chiar înfrângerea visului” (Emilian Marcu).
“Departe de eventuale alunecări în capcanele poeziei feministe, de tentaţia unor efuziuni sentimentale, poezia Mariei Mănucă se înscrie în zona unui cogito bine temperat căutând şi relevând acele sensuri ale existenţei cu valoare definitorie” (Constantin Dram)