Background: Medicines are often suboptimally managed for heart failure patients across the transition from hospital to home, potentially leading to poor patient outcomes. The Improving the Safety and Continuity Of Medicines management at Transitions of care programme included: understanding the problems faced by patients and healthcare professionals; developing and co-designing the Medicines at Transitions of care Intervention (MaTI); a cluster randomized controlled trial testing the effectiveness of a complex behavioural MaTI aimed at improving medicines management at the interface between hospitals discharge and community care for patients with heart failure; and a process evaluation. The M a T Ii n c l u d e dap a t i e n t -held My Medicines Toolkit; enhanced communication between the hospital and the patient's community pharmacist and increased engagement of the community pharmacist postdischarge. This paper reports on the patients' experiences of the MaTI and its implementation from the process evaluation.

No abstract

No abstract

through individual works, but through the relationships among works over the whole field of literature.At the heart of theories of structuralism is the idea of system, a complete, self-regulating entity that evolves (that is, moves from beginning to end, by transforming or rearranging its features) within its systematic structure. Every literary unit, from the individual sentence to the whole order of words as text, can be seen in relation to the concept of system. To say that a work has structure and that its structure is intrinsic or inherent is to say more than that it has an inner logic. It is to say that the work possesses a unique architecture that both identifies it vis-a.-vis all other works and serves as the basis for the integration of all of its elements into a unified systematic whole. The structuralist critic thus sees the work as an assembly of units that exist on several different levels of integration. The act of reading a literary work becomes, in turn, a sort of discovery process whereby we learn to perceive these units first in a linear fashion and then in terms of their abstract pattern of assembly. A literary work is understood when its overall structural integration is recognized.In literature, there are clearly certain formal or structural features that are basically static, such as the division of the work into parts or the material form of the narrative voice. But as the critic takes up more and more abstract questions of structure, like the relationship between the various characters or the several potential temporal planes of the narrative, it is more difficult to speak of explicit constituents. Ironically, criticism becomes more interesting and rewarding in direct proportion to its treatment of phenomena that are not perceivable to the "ordinary" reader. If criticism is best defended as an accessory tool to the reading of literature, it cannot be satisfied to deal only with aspects of the work readily accessible to the superficial reader. Thus, "higher" criticism emerges not as the identification of the elements inherent to a literary structure, but as the proposition that certain elements or relationships between them be accepted as existing when, in fact, there is scant overt evidence that it is so.Proposition then becomes interpretation in the sense of a unique understanding of the literary work, accompanied by appropriate arguments designed to convince us of its priority over other legitimately possible interpretations. IIThe crucial point of departure for an intrinsic literary criticism is the textuality of literature: the fact that it is a text the critic can identify and study. The texture confronted by the reader in his initial contact with a work of literature is the most permanent quality of that work.

No abstract