腓神经麻痹_百度百科
腓神经麻痹
百度百科公开招募三甲医院副高职称医师或医学博士，加入国家卫生计生委“”，撰写医学词条。
腓总神经是坐骨神经主要分支之一，腓总神经麻痹(peroneal nerve paralysis)在临床上并不少见，多以压迫、牵拉摩擦、外伤所引起，主要临床症状为足下垂，行走时足不能举起，通常用力提高下肢，髋关节、膝关节过度弯曲，持跨阀步态。
疾病名称：腓神经麻痹
其他名称：腓神经瘫痪,腓总神经瘫痪
疾病编码：ICD-9:355.305 ICD-10:G57.302
所属部位：下肢,
所属科室：神经外科,骨科[1]
疾病分类：神经系统疾病
1 穿通伤、腓骨头骨折外伤、牵拉可损伤腓浅神经和腓深神经。
2 受压：腓总神经绕过腓骨颈处最易受损长时间蹲位可引起。
3 铅中毒、代谢障碍(糖尿病)、结缔组织疾病(结节性多动脉炎)和麻风等造成。
有腓神经炎，多见于受寒或者感冒以后。有不少病人因神经本身受到机械性压迫而发病，如长时间地采取蹲位的劳动，因膝关节较长时间过度屈曲，神经受压迫或牵引后发病。同样，因小腿绷带或石膏裹得太紧，或因睡眠时位置不当压迫神经或局部外伤均可发病。全身性疾病，如麻风、糖尿病，偶尔也可为致病原因。
腓神经麻痹常突然起病，患肢的足部下垂，并转向内侧。因足背不能上抬，所以行走时患者必须把大腿抬得很高，使足跟也提高，但行走时足尖仍往往在地面上拖曳，称为“跨越步态”。远看时，患肢行走姿势犹如鸡啄米状。小腿外侧下2/3和足背外侧一半的感觉减弱或消失。如病程长，小腿外侧肌肉可萎缩。
1 诊断依据
1.1 患侧足下垂和不能背曲，行走时呈跨阈步态。
1.2 小腿外侧及足背皮肤感觉障碍。
1.3 病程长者可有胫骨前肌萎缩。
1.4 常有蹲位劳动过久或下肢石膏及绷带压迫过紧，或足三里穴位及其附近部位的针刺治疗或药物注射不当史。
1.5 肌电图及神经传导速度有异常。
1 治疗原则
1.1 常用治疗有针灸、理疗，也可作局部肌肉按摩。以促进局部的血液循环。药物治疗有B族维生素、地巴唑、加蓝太敏及丹参片等，以促进神经功能恢复。患肢应经常锻炼。内科治疗一个阶段若未见疗效，可请外科诊治，确定可否作神经减压手术。个别久治未愈者可穿特制的高帮鞋，使足背同小腿保持固定的垂直位置，便于行走。
2 治疗方式
2.1 手术治疗：神经受压或嵌压性神经病应行手术松解，解除对神经的压迫。神经完全断裂应采取手术缝合。
2.2 非手术治疗：目的是改善肢体的血液循环，减轻局部组织水肿，预防肌肉萎缩和关节僵硬，促进肢体功能的恢复。
2.21 药物：神经营养药物的应用如大剂量B族维生素；改善局部血液循环的药物（地巴唑和烟酸等）；能量合剂（三磷酸腺苷等）的应用；非类固醇抗炎药（布洛芬、双氯芬酸等）；伴有明显疼痛者可口服止痛药物、抗癫痫药物（卡马西平、苯妥英钠）和镇静药等。
2.22 局部封闭：如伴有明显的麻木疼痛者，可注射泼尼松龙0.5ml加2%普鲁卡因0.5ml。
2.23 物理治疗：常用的方法有电疗、水疗、蜡疗、碘离子导入疗法、感应电疗法及小夹板固定等。
2.24 针灸及电针疗法：上肢常用的穴位有合谷、通里、养老、云门、手三里、肩中俞、少海、外关、曲池及曲泽等穴位。下肢常用的穴位有环跳、阳陵泉、阴陵泉、阳关、夹脊、环中、绝骨、三阴交、承扶、殷门、涌泉及太冲等。
2.25 康复和功能锻炼：有条件可在康复师的指导下行康复治疗；尽早开始肢体的主动活动，特别是关节部位的主动和被动活动有助于防止关节僵硬和挛缩。
预后良好，因蹲位牵引压迫起病以及一部分炎症患者，数周到数月内可逐渐恢复。若能找到上述病因，首先应作病因治疗。要经常注意使患肢保持在功能的位置。
1 严重患者最终可致腓骨肌及胫骨前肌群的瘫痪和萎缩，足下垂，成跨阀步态，从此残疾。
2 如果由糖尿病引起者，会合并糖尿病足等。
3 如果由铅中毒引起者，合并癫痫及智力发育不全等。这个作者玩完了！你麻痹有点职业道德行不行？我草泥马啊 to_完美世界小说吧_百度贴吧
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&签到排名：今日本吧第个签到，本吧因你更精彩，明天继续来努力！
本吧签到人数：0可签7级以上的吧50个
本月漏签0次！成为超级会员，赠送8张补签卡连续签到：天&&累计签到：天超级会员单次开通12个月以上，赠送连续签到卡3张
关注：2,132,007贴子：
这个作者玩完了！你麻痹有点职业道德行不行？我草泥马啊 to
这个作者玩完了！你麻痹有点职业道德行不行？我草泥马啊 to
这顿凿，看看给凿的
说好了凌晨两点开始更新...
老子10次匹配8次在右边...
还要去写第三次，麻痹。...
就聊天 不势利眼的 行不...
告别How are you，一起来学时尚英语口语！
他是狗，有什么廉耻可说，，只祈祷他疾病缠身，钱不够给他买药吃
和狗逼说什么了
百度小说人气榜
本书排行： 第名
内&&容:使用签名档&&
保存至快速回贴MABI的海词问答与网友补充：
相关词典网站：本页主题: To:放弃或准备放弃Mabi的朋友们
&To:放弃或准备放弃Mabi的朋友们
Me半年前就停止了玩Mabi(当然偶是悄悄离开..),这期间有个很关心我的朋友知道了..不断在QQ劝我回去游戏,但我也一一拒绝....至今年的5月份,我把生活的事情弄好,再打算回来Mabi的时候,却在QQ收到这位朋友的最后留言:&他断网不再续费了,以后也不能再上网,最后还是想和你一起游戏..&命运抓弄,我再也联系不了他,他最后也收不到我答应他一起回去Mabi的留言..这位朋友的ID:小小萝卜/小小仓库/minx舍不得的念头在心里紧了,第一次在电脑前流下眼泪....
卖号或者离开...这些事情是会传染的,偶现在回到游戏了,朋友们都问我&玩多久?&偶也肯定回答他们&持续&什么情况偶也不会卖号,大不了找一个月换个心情再回来以上说D话,只想放弃或者准备放弃游戏的朋友们想清楚,辛辛苦苦,日夜煎熬练出来的号,有姓有名的人物,你们真的愿意放弃吗?真D舍得陪伴你左右的朋友们?请放弃前给自己72小时(不够再加)考虑吧..话毕
......卖号的人太多了.. &
还是放弃 & 放弃LQ的 念头吧 &
& 反正留个号随时回来玩也是很好的
有些事情需要自己做一个了断...要扼杀自己培养的感情当然是很心痛的一件事情.
至少DA的风气还是挺好的 (比其他服务器好&===这句要悄悄D说)
删号了还能回来吗？T T好多人直接删了T T
以后都不能上都不会卖号 那个号里面是1年来的回忆
放弃，真的有点难。不想玩的时候就不玩，想念朋友的时候就上游戏看看啊！！
回声(鲁拉里)
一个网游的寿命也只三，五年而已~偶如果决定放弃即8会回头~8过现在MABI还有勾引偶滴地方~所以素8会轻言放弃的拉~
现在想回去玩　５５５可惜什么都送人了
艾梅莉雅(鲁拉里)
汗,能卖几个钱?不是自己练出来的号再厉害送我我也不要,没投入感情没回忆的角色只不过是游戏的配角而已
=650) window.open('/t/9/x-.gif');" onload="if(this.width>'650')this.width='650';if(this.height>'150')this.height='150';" >
&|- YY新手教室
&|- YY秀创作交流版
&|- YY秀舞台
&|- 事务所
版主会议室
&|- 大杂烩
&|- 映の物语
&|- 自曝区
&|- YY大冒险
&|- 日记屋
&|- 水星球
&|- 音乐屋
&|- 跳蚤市场
&|- 原创故事版
&|- 原创CG
&|- ☜_人形公馆_☞
&|- 腐习教室
&|- 洛奇讨论版
千羽熏的乐谱屋
&|- 洛奇英雄传
&|- 游戏版
&|- 页游手游区
>> 洛奇服务器区
玛丽交易区
&|- 鲁拉里
鲁拉里交易区
蕾拉交易区
伊文交易区
露娜交易区Recommended
By: , March 23rd,
PILAR Benavides Estrada
BRYLLE TABORA
For 14-year-old violin student Pilar Benavides, it was a circuitous journey from her wartime home on Gastambide Street, Sampaloc, to the historic post-liberation concert of May 9, 1945 in the Santa Cruz church ruins.
In late 1944, probably when the American carrier raids started, the family—lawyer Virgilio Benavides, his wife Pacita, a son and three daughters Dr. Remedios, Lucila and Pilar—evacuated to Mabitac, Laguna, where they had rice and coconut lands and rented a house of mixed materials.
Pacita was a singer, had studied under Nelia Manalo Concordia and had given a recital. She encouraged her daughters to take up music. Remedios was a singer, Lucila a pianist who studied under Leonor Laperal, and Pilar took violin lessons from cellist-teacher Juan Tagle.
ADVERTISEMENT
There was a Japanese garrison in the town who, as elsewhere, treated the people harshly. But they heard the music-making in the Benavides home, came to listen and invited them to play at the garrison.
There was some risk to this, as the two older sisters were already young ladies. One never knew how the Japanese soldiery would behave. But one of their leaders took a liking to Mrs. Benavides and even called her “Mama.”
This was of some help to the townspeople when five of them were caught on suspicion of guerrilla activities and sentenced to die. Mrs. Benavides successfully interceded for them. But she failed when she interceded for a sixth victim, a priest, who was executed.
When the war situation turned uncertain, they evacuated to a barrio called Galas, and on hearing that Manila was liberated, set out and crossed two mountains on muddy ground through forests to reach the city.
Her mother heard of auditions for the Manila Symphony Orchestra, but they had been held 10 days earlier. So she asked the help of her cousin Restituto “Restie” Umali, lead contrabass player in MSO who took Pilar to conductor Dr. Herbert Zipper.
Pert and petite
Pilar played the only piece she knew, Ernesto Vallejo’s Habanera Filipina no. 2, then Zipper made her play spicatto passages from the last movement of Beethoven’s Eroica symphony, a technique she had not studied. Evidently he was satisfied, because she was accepted and played in the first post-liberation concert at the Santa Cruz church ruins. Because she was so young, Time magazine, in a story on the MSO, referred to her as pert and petite.
In Manila they first lived on Raon then transferred to Mendoza Street in Quiapo, just around the corner from the MSO’s rehearsal space at my father’s office at La Rosario Distillery on R. Hidalgo Street. It had been a convoluted odyssey from Sampaloc to Quiapo through Mabitac.
At MSO events she remembers seeing a stand-offish young man who took scant notice of her and her colleagues, and whom they considered “soplado.”
Seventy years later, at the reenactment of the Santa Cruz Church concert sponsored by the Ortigas Foundation at Meralco Theater, as the culmination of the 70th anniversary observance of Manila’s liberation, she was asked to rise and be recognized as the sole local survivor of the orchestra that had performed the historical concert. She was greeted with thunderous applause.
Seated beside her was the same aloof young man she had noticed 70 years earlier. Both were now cane-wielding grandparents, and struck up a pleasant conversation. He was not aloof but quite friendly and strongly supportive, clapping as vigorously as the most enthusiastic members of the audience. In fact it was he who, in the search for surviving orchestra members during the run-up to the re-enactment concert, almost at the last minute identified and located her. That man was no other than this writer.
Recommended
Disclaimer: Comments do not represent the views of INQUIRER.net. We reserve the right to exclude comments which are inconsistent with our editorial standards.
For feedback, complaints, or inquiries,
LATEST VIDEOS
LATEST FROM INQUIRER POP
& Copyright
INQUIRER.net | All Rights Reserved}