![]() ![]() Risk factors for epiglottitis include incomplete or lack of immunizations for Hib or immune deficiency. The median age of children with epiglottitis has increased from 3 years to 6-12 years. ![]() In the United states, prior to Hib vaccine the annual incidence rate for children under 5 years was 5 per 100,000. With the introduction of the HiB vaccine in the 1980s, not only has the incidence of the disease lessened, but also the age prevalence and the bacteriology have changed. Historically caused by Haemophilus influenzae type B, it was also a disease of children 2-7 years of age. This includes the aryepiglottic folds, arytenoid soft tissue, and, occasionally, the uvula. Epiglottitis is a form of cellulitis.Įpiglottitis is usually an infectious process of bacterial etiology directly or from bacteremia, but it can be caused by caustic ingestion, thermal injury, or direct trauma. Mine-artillery positions may be organized in coastal regions.Epiglottitis, or supraglottitis, is an inflammation of the epiglottis and/or the supraglottic tissues surrounding the epiglottis. Units and ships of the navy also take up attack positions prior to combat. During an offensive, the troops occupy and organize positions to consolidate the captured terrain. In preparing for an offensive, attack and assembly positions are organized in the area of departure for elements of motorized rifle and tank troops, as well as launching positions for the rocket troops and firing positions for artillery, mortars, and other means of fire. If there is no forward position, a combat security position is created to protect the first position of the main defense zone from surprise enemy attack and to hinder enemy reconnaissance. Moreover, dummy positions may be set up in the depth of the defense, as well as reserve and temporary positions for the maneuver of elements and means of fire in combat. To mislead the enemy concerning the actual location of the main line of resistance, a forward position may be created on several of the most important axes. They prevent the advance of the enemy and usually serve as lines of deployment for reserves before they mount a counterattack. Intermediate and switch positions may be organized in the depth of the defense. ![]() Troops also prepare firing positions for machine guns, artillery, mortars, antitank guided missiles, tanks, self-propelled gunmounts, and other means of fire, as well as launching positions for the rocket forces. This provides concealment of the disposition of the men and the means of fire at the position, protection from enemy fire, and better opportunities for maneuvering along the front and in depth. Each position is equipped with foxholes, bunkers, covers, and if there is time, fire trenches that can be linked by communication trenches. The main element of every position is usually the defense areas or strongpoints of the defending elements connected by a unified system of fire and obstacles. Positions are, as a rule, set up by the engineers and form an integral part of deeply echeloned defense zones, in which they are distributed in a definite order along the front and in depth. Numerous other positions are formed from the basic one.Ī zone, or sector, of the terrain that troops are occupying or are preparing to occupy. In the first, the rounded arms are raised to the level of the diaphragm in the second, they are extended to either side at shoulder level and in the third, they are raised over the head. In the fifth, the feet are closed with the heel of one foot touching the toe of the other. In the fourth, the turned-out feet are parallel to each other and separated by a distance of one foot. In the third, the feet partially adjoin one another. In the second, the heels of the turned-out legs are placed the length of a foot apart. In the first, the feet, with heels touching, have the toes turned outward, forming a straight line on the floor. The positions determine the harmonious arrangement of the body in space, assure the proper execution of the dance step, and create the gracefulness and expressiveness of the dance. Any one of several basic positions of the legs and arms in classical dance.
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