The purpose of this study was to assess qualitatively and quantitatively the MR arthrographic variability of the arthroscopically normal glenoid labrum. Form and signal abnormalities of arthroscopically normal labral parts were analyzed on axial and coronal MR arthrograms of 55 consecutive patients (mean age 43.8 years, age range 21-76 years) referred mainly for suspected rotator cuff lesions. Length and width of the labrum were measured. One hundred twenty-one of 241 (50%) arthroscopically normal labral parts demonstrated normal (low) signal intensity and normal form on MR arthrograms. Increased linear or globular signal intensity was present in 74 of 241 (31%) normal labral parts, deformed or fragmented labra in 28 (12%), complete separation of the labrum from the glenoid in 4 (2%), a cleft in 5 (2%), attenuation in 4 (2%), and complete absence in 5 (2%), respectively. The mean size of the normal labrum varied between 3.8 x 3.3 mm at the subscapularis bursa level (anteriorly) and 6.1 x 5.6 mm at the inferior portion of the glenoid (anteriorly). The size was not significantly different between arthroscopically normal and abnormal labral parts (p = 0.13-0.83). Since the MR appearance of the arthroscopically normal glenoid labrum varies considerably concerning signal intensity, form, and size, only major tears or detachments of the labrum should be diagnosed.
Peter Handke hat das Kino stets als Leitmedium verstanden, dem es in seinen besten Momenten gelingt, den menschlichen Alltag mit epischer Wahrhaftigkeit festzuhalten. Zu den Filmen, die Handke besonders schätzt, da sie dem Publikum universelle Geschichten präsentieren, zählen die klassischen Western John Fords. Seitdem Handke ihn im Roman Der kurze Brief zum langen Abschied (1972) zum Lehrmeister erhob, nimmt der Hollywood-Regisseur einen festen Platz in jener eklektischen Riege der „Künstler-Vorfahren“ ein, deren Werke sich im Laufe der Jahrzehnte zu einem konstruktiven Bildungsprogramm gefügt haben: In der fortlaufenden Interaktion mit der epischen Tradition übt Handke die eigenen Wahrnehmungs- und Erzählverfahren ein. Das Kino John Fords erweist sich dabei als reicher Bilderfundus, der dem Schreiben des österreichischen Autors bis heute neue Impulse verleiht.
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