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Review of surgical techniques for the reconstruction of the maxillofacial region used in the Department of Maxillo-Facial Surgery in Rzeszów

100%
Jan Frańczak J., Paweł Pakla P., Robert Brodowski R., Wojciech Stopyra W., Danuta Burdzy D., Bogumił Lewandowski B.
European Journal of Clinical and Experimental Medicine
|
2017
|
issue 3
273–278
EN
Postoperative reconstruction of tissue loss within the head and neck after extensive resections due to malignant neoplasms or traumas has always been a challenge for maxillo-facial surgeons or ENT physicians. Due to the complex anatomical structure of the head and neck region, every patient requires an individual approach and there is no standard method of management appropriate for all patients. The number of patients treated for malignancy is increasing year by year. The possibility of performing extensive resections in the head and neck region are conditioned by appropriate reconstruction. Aim. The aim of the paper is to present the reconstructive methods used in the Clinical Department of Maxillofacial Surgery, F. Chopin Hospital No. 1 in Rzeszow. A short review of the most commonly used flaps is presented, taking into account their advantages, disadvantages and surgical technique in terms of their usefulness in daily clinical practice.
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Forgotten Faces of the Great War: The Wounded Servicemen in Henry Tonks’ Surgical Portraits

51%
Gorgula M.
Świat i Słowo
|
2019
|
vol. 32(1)
87-102
EN
Henry Tonks’ pastel portraits of the wounded Great War servicemen have perplexed researchers for years. These stunning pieces of art made by the surgeongone- artist remain an example of a fascinating but shunned history of the war. Unlike other war art, usually representing the wounded covered with bandages or as stoic or martyred heroes, these portraits defy the conventional, idealized memorializing. They are uncannily raw and frank, with fleshy wounds revealed and soldiers staring blatantly, almost defiantly at the onlookers, making Tonks’ portraits impossible not to be questioned beyond their medical function. They were meant to document ‘before’ and ‘after’ images of the wounded, making the artist a “historian of facial injuries” and thus fulfilling a strictly medical, recording function. And yet, these portraits pose much more complex questions of ethics, aesthetics and memorializing, mostly through the ‘healing’ properties of art, which gave the depicted soldiers back some semblance of humanity they were stripped off so unexpectedly, losing an important part of their selves, i.e. their faces. Although focusing on unsettling subject, Tonks’ portraits perform a particular memorial function since they represent a direct, almost intimate experience of war, recording a hidden history that contributes to a more coherent and fleshier understanding of World War I.
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