Search results for: Jayarajini Vasanth

Authors: Vergeena Varghese, G. Gajalakshmi, Jayarajini Vasanth

Abstract:

The present study deals with the indication of prevalence of dry eye and evaluates environmental risk factors attributed to dry eye in different occupational sectors. 240 subjects above 20 years and below 45 years of age were screened for dry eye. Mcmonnies dry eye questionnaire based history and Schirmer’s test were used to diagnose dry eye. For Schirmer’s test Whatman strip and paracaine drop used as an anesthetic. Subject’s demographics include age, sex, smoking, alcoholism, occupation history and working environment. Out of a total of 240 subjects, 52 subjects were positive for dry eye syndrome (21.7%). The highest prevalence of dry eye syndrome in software sector was 14subjects (26.9%) out of a total of 40 subjects. In the construction sector, the prevalence of dry eye syndrome had 12 subjects (23.1%) out of 40 subjects and 9 subjects (17.3%) out of 40 subjects in agriculture sector. 7 subjects (13.5%) who had dry eye out of 40 subjects in the transport sector and in industrial 6 subjects (11.5%). In a normal sector, this was taken as control group had dry eye in 4 subjects (7.7%) out of 40 subjects. We also found the prevalence of dry eye in OS was higher than OD. Dry eye is a most common ocular condition. The highest prevalence of dry eye syndrome in software sector was 14 members than other sector. There was a significant correlation between environmental and occupational factors to cause dry eye. Excessive exposure to sunlight, wind, high temperature, and air pollution, electromagnetic radiation are the factors affect the tear film and ocular surface causing the dry eye syndrome.

Keywords: DES – dry eye syndrome, Mcmonnies dry eye questionnaire, schirmer’s test, whatman vstrip

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Authors: Vasanth Narayanan

Abstract:

The mid-nineteenth century saw the Japanese elite and townsfolk alike undergo the now-infamous Ansei Edo earthquakes. The quakes decimated Japan in the final decades of the Tokugawa Era and, perhaps more consequentially, birthed a new genre of politically inspired artwork, the most notable of which are the namazu-e. This essay advocates an understanding of the 1855 Catfish Prints (namazu-e) that prioritizes the function of iconography and anthropomorphic deity in shaping the namazu-e into a wholly political experience that makes the censorship of the time part of its argument. The visual program is defined as the creation of a politically profitable experience, crafted through the union of explicit religion, highly masked commentary, and the impositions of censorship. The strategies by which the works are designed, in the face of censorship, to engage a less educated, pedestrian audience with its theme, including considerations of iconography, depictions of the working class, anthropomorphism, and the relationship between textual and visual elements, are discussed herein. The essay then takes up the question of the role of tense Japan–United States relations in fostering censorship and as a driver of the production of namazu-e. It is ultimately understood that the marriage of hefty censorship protocol, the explicitly religious medium, and inimical sentiment towards United States efforts at diplomacy renders the production of namazu-e an offspring of the censorship and deeply held frustrations of the time, cementing its status as a primitive form of peaceful protest against a seemingly apathetic government.

Keywords: Japan, Ansei Earthquake, Namazu, prints, censorship, religion

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