The transdermal absorption of a series of nonsteroidal antiinflammatory drugs (NSAIDs): indomethacin, ketoprofen, diclofenac, piroxicam, tenoxicam, ketorolac, and aceclofenac) was studied in vitro with human skin. The purpose of the study was to determine the permeation parameters (permeability rate constant, Kp; lag time, TL, and flux, J) as measures of the intrinsic transdermal permeabilities of these drugs to predict their potential for formulation in a transdermal therapeutic system (TTS). A linear correlation was established between the intrinsic log Kp values and the intrinsic partition coefficients (r = 0.863, p = 0.012, n = 7). Diclofenac had the highest value of in vitro transdermal penetration at approximately 0% ionization (Kp = 3.5 cm/h) and ketoprofen had the highest flux (J = 16 micrograms/h.cm2) of the NSAIDs assayed. Ketorolac would provide the plasma concentrations at steady state that would be nearest to the therapeutic concentration (Cr/Css = 26). Also, considering the whole permeation profile in vitro, ketorolac would be the most suitable candidate of the series studied to be formulated as a TTS.

RESUMENLa estructura desdoblada que adopta habitualmente la escritura de Chantal Maillard tiene un sentido intenso en el poemario Hilos. Este libro, que en parte surge como segregación del diario Husos, despliega una lógica estética contraria a toda interpretación metafísica. Para ello, los poemas crecen como ecos unos de otros y como reflejos de fragmentos de otros libros de la autora. En Hilos, la escritura teje una malla o red cuyos vórtices dibujan el mapa de un Texto en que obras de otras manifestaciones artísticas (Gego), filosóficas (Derrida) o mitológicas (Kālī) vienen a explicar su urdimbre.PALABRAS CLAVECHANTAL MAILLARD, ESTÉTICA, GEGO, DERRIDA, KĀLĪABSTRACTThe split structure in which Chantal Maillard’s writing are regularly framed, has an intense sense in the poems in Hilos. This book, which comes as a segregation of the diary Husos, displays an aesthetic logic opposed to metaphysics. The poems are written as echoes and as reflections of other fragments of other Maillard’s books. In Hilos, the writing is a mesh or a network whose vortices draw the map of a Text explained by other artistic works (Gego), philosophical works (Derrida) or mythological expressions (Kālī).KEY WORDSCHANTAL MAILLARD, AESTHETICS, GEGO, DERRIDA, KĀLĪ