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Three types of fat, olive oil, soya bean oil and a solid cooking fat were used to fry potatoes, lean beef or sardines. The heating cycle was carried out once and repeated ten times and the true digestibility (TD) and energy digestibility (ED) determined by feeding trials on rats. The results showed very little change in either measurement compared with the fresh, unheated fats. Discarded olive oil from an industrial fryer was also examined and found to be only slightly lower in TD and E D than after ten cycles in the laboratory.

RESUMENCaso clínico: Presentamos dos pacientes afáquicas que desarrollaron síndrome de Brown-McLean. Discusión: Una paciente tenía síndrome de Marfan con antecedente de subluxación de cristalino con afaquia intervenida 23 años antes. La otra paciente era afáquica por cirugía de catarata con complicaciones desde hacía tres años. Estos casos muestran que este síndrome puede presentar variabilidad en cuanto a las características clínicas, pero siempre está presente el edema corneal periférico. Conocer bien sus formas de presentación facilita que este síndrome no pase desapercibido. Palabras claves:Síndrome de Brown-McLean, edema corneal, Síndrome de Marfan, complicaciones cirugía de cataratas. SUMMARYCase report: We report two aphakic patients with Brown-McLean syndrome. Discussion: One patient was affected by Marfan syndrome, after having undergone lens subluxation surgery and aphakia 23 years previously. The other patient was aphakic due to cataract surgery with complications three years before. Our cases demonstrate that this syndrome can show a variety of clinical characteristics, but peripheral corneal edema is always present. A full understanding of the clinical signs of presentation is of great importance in order to detect this syndrome (Arch Soc Esp Oftalmol 2004; 79: 299-302).

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RESUMO: A presença do roteiro cinematográfico como obra autônoma tem sido sempre problematizado no cinema e por outros campos como o teatro e a literatura. Para o cinema, o roteiro sempre foi um elemento de passagem, algumas vezes negado como origem da verdadeira autoria do filme e outras questionado como elemento de controle sobre a vocação documentária do filme. Nas irrestritas formas de escrita do roteiro, para além da aceitação de seu status de obra pronta, podemos encontrar diferentes poéticas e subjetividades diante das inúmeras formas de encenar o filme. PALAVRAS-CHAVE: Roteiro; Cinema; Teatro; Literatura; Encenação.ABSTRACT: The literary character of the screenplay has always been questioned in film and other fields such as theater and literature. For film, the script was always an element of passage, sometimes denied as the source of true authorship of the film, sometimes questioned as an element of control over the film documentary vocation. However, in its unrestricted forms of writing, we can find different poetics and subjectivities before the countless ways of staging the film.