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Special Histology of organs and apparatus

Histology of the Circulatory System

Cardiovascular:

• blood vascular system.

lymphatic vascular system.

blood vascular system.

It consists of:

• Heart.

Muscle blood drive.

• vascular channels or blood vessels:

• Arteries: Part of the heart.
• Veins: touch the heart.

capillaries.

• finest vessels: 6 μ to 30μ.

• form a large network.

• Al branch not decrease caliber.

• They are between the last ramifications arterial and early venous .

capillary wall.

It consists of:

• endothelial cells.

• basal membrane.

• cells periteliales .

• endothelial cells:

form a continuous layer that limits the

capillary lumen.

• Basement membrane:
support layer where endothelial cells.

• Cells periteliales o pericapilares :

Constituidas por:

• • Células mesenquimatosas .
• • Fibroblastos
• • Fibrocitos
• • Células de Rouget , células adventiciales pericytes. Which participate in the changes of the caliber of the capillaries.
• • The capillary is surrounded by connective tissue organ location.

Arteries.

are the vessels that carry blood from the

the heart to the capillaries. Decrease in diameter to branch.

• Structure: have 3 concentric tunics, which are:

• Tunic internal or intimate. Tunic
• media.
• external tunic or adventitia.

Intima or inner lining.

It consists of:

• Endothelium.
• connective layer.
• internal elastic lamina.

Tunic Media.

Composed:

• muscle fibers and elastic.

outer tunic or adventitia.

It n ature conjunctiva.

Arteries. Rating:

Depending on its complexity and diameter:

• arterioles or small arteries.

• arteries of medium caliber or muscle type.

• Arteries large caliber or type elastic.

arterioles or small arteries.

are located before the arterial capillaries.

• Structure:

• endothelium (intima).
• muscle fibers circular.
• thin connective.

Arteries medium size or muscle type.

predominate in the wall of muscle fibers.

• Structure:

• Intima or inner lining.

• • endothelium. Layer (squamous cell)
• • Subendothelial layer or striated.
• • Limiting internal elastic.

• tunica media.

Composed by n fibers umerous smooth muscle, forming concentric layers.

Presents fiber

• collagen.

• Of reticulin .

• Stretch.

• outer tunic or adventitia.

is broader, is formed by weaving C. lax which has abundant fiber elastic feeder vessels and nerve fibers . has the external elastic constraint.

Arteries large caliber or elastic type.

• Structure:

• Lingerie or inner lining.

• • endothelial layer.
• Endarteria .
• • fibers abound Elastic intermingled.
• • Fibroblasts scarce.
• • Limiting elastic internal .

• tunica media.

• • Juxtaposition of numerous membranes fenestrated elastic .
• • are separated by Filled spaces substantia

  and smooth muscle fibers.

• • has great size.

• adventitia.

• starts in elastic limiting external .
• Formed by connective tissue, rich in elastic fibers and Glasses and steak
  nervous.

Veins:

are vessels in which the flow converges capillary and touch the heart.

• follow the same path arteries but in reverse.

• Depending on the diameter or size is classified :

• small vessels or venules .
• veins of medium caliber.
• large caliber veins.
  

Structure: three layers.

• Intima or inner lining.
• tunica media.
• Outer layer or adventitia.

Valves:

• are thin films that seem to hang its walls on the inside. are dependent on the intima or inner lining. arranged in pairs opposite each other, located in the lower limbs mainly (veins of the legs and thighs). They consist
po r the endothelium, connective tissue fibers elásticas. Su función es impedir el retroceso de la sangre.

Venas de pequeño calibre o vénulas. Estructura:

• Capa endotelial continuación de la de los capilares.

• Tejido conectivo.

• Fibras musculares circulares.

veins of medium caliber. Structure:

• Lingerie or inner lining.

Formed by:

• Endothelium.
• basal membrane.
• Limiting internal elastic.

• tunica media.

• muscle connective in nature. With abundant elastic fibers.

• Tunic internal or adventitia.

nature of elastic muscle. may contain fibers longitudinal muscle.

large caliber veins. Structure:

• Lingerie or inner lining.

Formed by:

• Endothelium.
• basal membrane.
• Limiting internal elastic.

• tunica media.

• is narrow and may even fail. It consists of smooth muscle and elastic fibers.

• Tunic internal or adventitia.

• Highly developed. comprises abundant muscle fibers is l ongitudinales separated by connective tissue .

Irrigation and innervation of blood vessels :

In a rterias and veins greater than 200 μ in diameter there vasa vasorum : small feeder vessels that branch and give rise to capillaries that distributed in the tunica media and adventitia.

are innervated by nerve fibers dependent vasomotor autonomic nervous system.

Heart:

• hollow body contractile.

• Reservoir central engine of circulatory system.

• Histological structure:

• Endocardium. then direct intima of vasos.ç
• Myocardial : Counterpart to tunica media.
• Epicardium : Homologous to tunic adventitia.

Endocardium:

is the innermost layer of the heart. has a variable thickness by region.

• has three layers:

• endothelial layer or endothelium.
  • Formed po: r
    • flat cells.
    • basal membrane.
  
  

• subendothelial layer .
• Composed
  • Fibers collagen and elastic few in number.
  • Fibroblasts

• deep layer.
• • Thick. formed by connective tissue with abundant elastic elements.

Below this is a layer subendocardial .

• Joins endocardium to the myocardium.

• loose connective tissue containing vessels and nerves.

Infarction:

• Layer more development.

• have greater thickness in the left ventricle.

• Formed by cardiac muscle fibers following several directions.

Epicardium:

• Located outside the myocardium.

• Formed by:

• mesothelial cells .

• thin layer of connective tissue with elastic fibers.

• Joins myocardium by connective tissue.

Skeleton Cardiac comprises:

• • atrioventricular annulus .
• • membranous septum.
• • fibrous trigone.

Serves insertion fibers muscle and valves. Formed by connective tissue dense. Trine In fibrous tissue is chondroid (cartilage).

heart valves:

• extensions or folds of endocardium . has an e similar to STRUCTURE. They consist Connective tissue with abundant collagen fibers . are lined by the endocardium on both sides.

driving system atrioventricular :

The muscular network of the headset is connected to the ventricles by a special issue consists of atypical cardiac muscle fibers called Purkinje fibers .

Components:

• Sinoatrial Node Keith and flack.

• Node atrioventricular of Aschoff - Tawara.

• Make atrioventricular or bundle of His . With two branches.




Circulation Major:
- Start at the left ventricle.
- Sale of the aorta.
- is distributed throughout the body.
- Returns to the heart through the vena cava which are two: the top and bottom.
- Reach the right atrium. Circulation

less.:
- starts in the right ventricle.
- Sale by the pulmonary artery.
- comes to the lungs where blood is oxygenated.
- back through the pulmonary veins which are four.
- Get to the left atrium.

Lymphatic:

Set of lymphatic vessels that carry lymph from the intercellular spaces where it originates, to the venous vessels of the neck region.

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A:
agatsu: Victoria on itself.
AGE: Ascending. AI
AME (YAME): Enough.
HANMI AI (AI Hammi): Position of Uke and Nage guard with the same feet in front (eg, both in Migi kamae).
AI: Union, harmony.
AIKI NAGE: Scan using the whole body in a position to bank. " AIKI
Otoshi: Uke Raise the knees, then dropping it. AIKI
TAIS: Individual exercises coordination, physical and mental development specific to the flow of Ki. AIKI
: Join energies.
Aikido: Way of harmony with universal energy.
Aikidoka: A practitioner of Aikido.
AIKIKAI "Aiki Association" created by the founder to spread Aikido. AI
NUKE: Escape or mutual preservation.
AI UCHI: Hit or mutual destruction. ANZA
: How to sit with legs crossed.
Arigato: Thank you. ASHI
SABAKI: Work, footwork. ASHI
: Foot, leg, step. ATAM
gaeshi: Lever in the neck; variation Men Nage.
ATAM: Head.
ATE WAZA: Techniques to strike vulnerable points of the body.
ATE: Beat by hand, fist or hand in a position to strike.
ATEMI: Trouble in a vulnerable region of the body of the enemy. ATO
NO SEN: "After the first." Techniques to respond to the attack and executed. AWAS
HO: Exercise training to synchronize with the Uke. AWAS
: "Mirror" / How to move in sync with the Uke. AYUMI ASHI
: normal Andar alternating both feet (with the fingertips out).

B:
BO: Long Staff.
Bodhimanda: Where the ego to ego becomes a self without ego.
BOKKEN (BOKUTO): wooden replica of a katana for training.
BU: Designates what martial arts means of war. The kanji "bu" is derived from two characters: "stop" (Todomeru) and "spear" (Hoko); together, ironically, means "to stop arms." BUDO
SEISHIN: The Spirit of Budo. BUDO
"martial way." Way of personal perfection through the martial arts by integrating body-mind-spirit.
Bugei: Arts fight.
BUJUTSU: combat techniques. BUSHI
Warrior, Samurai. BUSHIDO
"Road Warrior" / code of ethics or code of honor of the Samurai.

C:
CHI: Tierra / Wisdom, intelligence.
CHIBURI: Movement of the Katana to clean the blood after cutting the enemy.
CHIKA MA: Short distance.
CHIKARA: Strength. KI SHIN CHIN KON
: esoteric practice to develop and unite with the Ki.
CHOKUSEN: Direct, as in "chokusen irimi not" go straight.
CHU: Loyalty. CHUDAN
TSUKI: Beat at medium altitude.
CHUDAN: Middle part of the body or middle position.
Chushin: Center itself, in particular the center of balance.

D:
daimyo, feudal Lord (governor of a castle or territory).
DAN: Degree or category.
OF AI: The timing of Nage and Uke meeting during the procedure.
deshi: Apprentice.
DO: Way, way, way, way, way of moral or ethical behavior. Derives from the Chinese "Tao" / costs (eg: Do Giri: Cut the side). DO NOT
Session: Training the middle the body.
DOJO: DO (way, way, way), JO (place, room, center): a place where you can practice route.
Doka: Poems teaching. DOMO ARIGATO
GOZAI MASHITA: Thank you (addressed to someone of great respect.) DORI
(TORI): Holding.
Doshi: Man of the Way (min. 2 º Dan).
DOSHU: "He who shows the way." Director head of a great movement.
Dozo: "Please." Used with the meaning of "please run" or "please stop you."

E:
EKITAI: Forms of intuition in Aikido training, defending. Engi
: Origin interdependent (Buddhist philosophy).
ERI DORI: Grasp the flap. ERI
: Tab.

F:
fudoshin: Mind unmovable and unshakable.
FUKUSHIDOIN: A formal title meaning roughly "Assistant Instructor" (2nd and 3rd. Dan).
FUNAKOGI: Rowing to strengthen hips and stability. FURY
KABURI: Motion to lift the back.
FURITAMA: Exercise for the settlement of KI which draws power from the hands and swaying in front of the Centre.
FURITSUKI: Thrust, slash violent (usually a knife).
FUTARIGAKE (FUTARIDORI): Techniques against several attackers at once.

G:
gaeshi (Kaeshi): Counterattack / Revert. Gaeshi
WAZA (Kaeshi WAZA): Technical countermeasures.
GAKU: Calligraphy hung vertically on a wall.
Garami: Rolling, interlaced. GEDAN
KAMAE NO: Guard with hands or arms lowered. GEDAN
TSUKI: Blow to the lower body.
GEDAN: Lower part of the body or down position. GENKI
: Vigor. GERI
(KERI): Kick.
GI: Honor, justice.
GIRI (KIRI): Cut. NO GO KEIKO
: Strength training.
GO NO SEN: Concrete, solid ground. At which UKE has taken.
GO: Five.
Gokyo (UDE NOBASHI): Fifth teaching. Stretching his arm. Gomen
KUDASAI: Please, do you authorize?. Gyaku
HANMI (Gyaku Hammi) guard position Uke and Nage with several feet in front (if Uke has the right foot forward, nage has the left foot or vice versa). Gyaku
: Crusader.

H:
Hachi: Eight.
HAI: Yes
HAISHIN UNDO (SHUMATSU DOSA): Stretching and bending of the back, generally used for relaxation at the end of the class. HAJIME
: Start, to start.
Hakam: Skirt - pants that Keiko Aikidoka worn over the gi. Our school is reserved for black belts.
HANMI (Hammi): Position of the body. HANMI
HANTACHI WAZA: Techniques where Uke standing and Nage attack receives kneeling attack.
HANSHI: The man who thinks and discovers (highest degree in martial arts).
HANTAI: In reverse order. HAPP
GIRI: Exercise cutting in eight directions. HAPP
UNDO: Ikki Exercise undo (Kokyu ho) in eight directions.
Happen: 8 directions. The connotation is real movement in all directions.
HARA (SEIKA Tanda, CENTER, NO SEIKA ITTEN, POINT ONE): Belly. Focal point physical and mental energy center of all human beings.
haragei: Art of developing Hara. NO KAMAE HASSO
"figure of eight Guard." The number 8 is represented by a kanji that looks like a gable roof, similar to the position arms in the guard.
Hazumi: Run a move with the body, with skill, technique. Heiki
: Fairness. HENKA
WAZA: variant of a technique.
HENKA: Change, variation, another way of doing.
HIDARI: Left. HIJI
DORI: Hold the elbow.
Hiji: Elbow.
HIJITSU: Secret Technique.
Hiza: Knee.
HO: Exercise.
HO-Jutsu: Art of Sound formulations as a basis or means of access to a state of higher consciousness.
Honbu Dojo: main Dojo.
Honbu: Central.
HYOSHI: Rate of action, rhythm, rhythm integration. Sense of timing, timing.

I:
IAIDO: Ancient Art, which focuses on the perfection of the initial movement of the sword. Swordplay to achieve draw, cut and sheathing harmoniously integrated with a single movement. ICHI
: One
IKI: Willpower.
ikkyo (IKKAJO, UDE Osae): First teaching. Pinching of the arm on the floor.
Inazuma: lightning.
IOSHI: Indication of "prepare." IRIMI
ISSOKU: Login with a single step. IRIMI
NAGE: Technique Uke projection coming from the front. Tenke IRIMI
: Enter and turning.
IRIMI: Enter the opponent, go ahead.

J:
JINJER: Shinto shrines. There is an Aiki Jinja in Iwama Ibaraki Prefecture, Japan.
Jiyu Waza (JIJU WAZA): Apply free (preconceive) attack and defense techniques. JO DORI
: Defense against attacks handsfree staff (Jo). JO
Jutsu: Art of the stick.
JO: Cane wood shorter than Bo (approx: 1.5 m) / Place, room, central (eg Dojo). Jodan Tsuki
: Strike chest up.
Jodan: upper body or upper position. FUCK
: Via spiritual path cane or walking stick.
Joseki: Left to Kamiza. JU NAN
SEI: Flexibility. JU NO
KEIKO: Training of flexibility and fluidity. JU NO
RI: Principles or rules of flexibility.
JU: Ten / Flexible, soft, soft.
Juji Garami: Technical across Uke's arms exerting leverage on one of them. Juji
: Crusader. Jumbie
TAIS (Jumbie UNDO): Gymnastics Warm up before practice.
jutai: flexible forms of training.
Jutsu (Jitsu): A technique or set of techniques.

K:
KA: Fire.
Kaiki: Lost life.
Kaiser Founder. In Aikido this title belongs to O Sensei.
KAITEN: Roll. Kakari
GEIKO: Exercise which repeats the same technique in series with several people.
KAKE (Gake): Implementation of the technique.
KAMAE (range): Guard.
KAMI: Deity.
KAMIZA (Joza): Seat of the gods, next to the Dojo where you will find the picture of O-Sensei and the altar.
KAN: intuitive perception.
KANCHA: Head of a Dojo.
KANJI: Symbol or Chinese ideogram.
KANNAGARA: State of alignment with the divine in all aspects of life. KANSETSU
WAZA: Techniques in the joints. KARA
: Vacuum (ie Karate: empty hand).
KATA DORI: Grab a front shoulder.
KATA: stylized Joint / Shoulder.
Katai: Hard, rigid, stiff. KATAMARAN
WAZA (Gatame Waza): Techniques of immobilization / submission on the floor or mat. KATANA
Gake: Furniture to display swords. KATANA
: Sable Japanese. DORI Katata
USHIRO KUBI SHIME: Turn on the wrist, Nage lag behind and strangle him. Katata
DORI: Grab the wrist (same side). KATSU
JIN KEN: The sword that saves life, referred to spare the lives of our enemy.
KATSUHAYABI: Victoria immediately.
KEIKO GI (GI DO GI) training attire. KEIKO
: Practice, Training. KEN
: Espada.
Kendo: Japanese sword fencing (Way of the sword).
Kenjutsu: Art of the saber.
Kensho: Lighting. AWAS
KI: It is a predisposition that allows us to develop awareness, educating our reflexes. Harmonization of KI. How to adapt our action to the opponent, in harmony with its strength and direction. KI
MUSUBI: Harmonize with KI joining his opponent. UNDO
KI: Ki Exercises preparation. WO
DASU KI: Ki Projecting outward. KI WO
Kiru: Cut Ki. KI WO
Neru: Training of our Ki.
KI: Life force or universal energy / mind, spirit, intention. Derived from the Chinese term "Ch'i". Has the same connotation as the term Pranna (Sanskrit).
KIAI: Cry of the spirit. Cry to unify the body and spirit, energy discharge. KIHON
WAZA: Basic.
KIHON: Bases, fundamentos, principios.
KIRITSU: Indicación de levantarse después del saludo.
KISOKU: Prolongar la respiración.
KISSAKI: La punta de la Katana.
KITAI: Forma de crear la oportunidad de ataque o respuesta.
KITO: Caer y levantarse.
KODACHI: Réplica de madera del Wakizashi utilizada para entrenar.
KOH: Piedad.
KOHAI: Estudiante menos antiguo que uno mismo.
KOHO: Atrás.
KOI GUCHI: Orificio de la vaina de la Katana.
KOKORO: Corazón, sentimiento, sensibilidad.
KOKYO RYOKU: Poder de la respiración.
KOKYU HO: Método o ejercicio de respiración.
KOKYU NAGE: Técnicas de proyección respiratoria. Kokyu
: Respiration. Literally breathe (KO) and inspire (KYU). KOSA
DORI (KOSA Katata DORI; AI DORI Katata HANMI): Grab the wrist of the opposite side. Ex: Right Hand Uke takes right hand Nage.
Koshi (Goshi): Hips. Koshi
NAGE: Screening with the hip.
Kotai: Change. KOTE
gaeshi: Lever on the wrist twisting.
KOTE: Doll.
Kototama (kotodama): esoteric practice of intoning various sounds for the purpose of producing mystical states.
KU: Void. KUBI
SHIME: strangulation on the neck.
KUBI: Neck.
KUMI JO: Jo training pairs. KUMI
TACHI: Training saber in pairs.
KUMI: Cross arms.
Kurai: Awareness.
kuzushi: imbalance, unbalance.
KYOSHI: Teacher, instructor transmitting (at least 5 º Dan).
KYU: Nine (KU) / Inspire / beginner grades are distinguished by the color of the belt.
Kyudo: Art of Archery.
KYUSHO: Vulnerabilities of the human body.

M: MA
Number: Distance to fight properly.
MA: Distance.
UKEMI MAE (MAE KAITEN UKEMI or ZENPO UKEMI): Fall forward. MAE
: Front. MAKOTO
: Unit word and deed, to remain a true order of the universe. Masakatsu
: True victory.
MAWASHI: In a circle. NAGE MEN
: Projection head.
MEN: Head.
Menkyo Kaiden: Title or teaching certificate.
metsuke: Mirada.
MI (TAI KARADA): Body.
MIGI: Right.
misogi: Purification ritual.
MIZU: Water.
Mochin: Disciple.
mokuso: "Meditation." Sitting in Seiza, focusing, and seeking physical and mental drive.
Morote Dori (Dori Katata Ryota MOCHI): Catch a wrist with both hands.
MU: Void.
mudansha: Student Kyu grading (no black belt).
MUNE DORI: Take the chest.
MUNE: Chest.
MUNEDAN: solar plexus area. Mushin
: Literally "no mind."
MUSUBI: The process of unification of opposites. His constant is change.

N:
NAFUDAKAKE: Panel on which the names of practitioners in the Dojo.
Nagar: Fluid.
NAGE WAZA: Techniques projection. NAGE
: Whoever designs, which runs the techniques (TORI) / Forecast. NEN
: Concentration, thought - now, unidirectionality.
NI: Two.
Niky (NIKAJO, KOTE MAWASHI): "Second teaching" lever on the wrist in a semicircle.

O:
O 'SENSEI: "Great Teacher." Morihei Ueshiba, founder of Aikido.
O: Honorable, Great, Great.
OBI: Belt. OMEDETO
GOZAI MASHITA: Thank you. OMOTE
: Ahead. Reliza technique in front of Uke.
Omotokyo: "Teaching the great source." Religion practiced by O 'Sensei, which amalgamated to Shintoism, mysticism, Christianity and Japanese folk religions.
onegai shimasu: "Please," "I welcome you to train me." Osae
WAZA: Techniques of restraint.
Osae: imprisoned in the ground lobby.
OSOI: Indication of "slow, slow"
OTOGAI NI REI: greeting among students.
OTOMENRYU: Prohibition to communicate or transmit knowledge or technical through writing.
Otoshi: Dropping, to fall to the ground.

R:
Randori: Performance of multiple attack and free response. REI
: Greetings. Indication of "health." Reigi
Label. RENRAKU
WAZA: Techniques chains. Nage combination made with a different technique, changing the direction of the initial imbalance. Renshi
: The man who knows.
Ripper: Moving with the same foot in advance.
RITSUREI: Greeting foot.
ROKI (UDE hijiki): Sixth teaching. Lock the exercising arm at the elbow lever.
Roku: Six.
Ronin Samurai without a master or lord. Wandering Samurai.
RYO KATA DORI: Grabbing both shoulders from the front. RYO
TE DORI: Holding both wrists. RYO
TE: Both hands. KEIKO
RYU NO: Training effectiveness.
RYU: School (system) of a martial art.

S:
SABAKI: Displacement, dodge.
SAMURAI: "Server", a warrior in the service of a feudal lord. SAN
Three / Honorable, Lord.
SANKAKUTAI: triangular position, which allows stability and potential mobility of the body. SANKYO
(SANKAJO, KOTE HINERI): "Third teaching." Lever rotating wrist.
SATORI: state of enlightenment. Satsu
JIN KEN: Enmig destruction or death.
SAYA: Scabbard of the Katana. SAYU
UNDO: Moving arms and turning sideways, with concentration on the lower edge of the arms and palms up. SEI
: Strength, power, vitality, calmness, serenity.
Seiko: The fist naturally.
SEIKI: Spirit - Energy.
SEIRITSU: Alignment. SEISHIN
Tanren: Training of the mind, spirit and character.
Seite: Student.
SEIZA: traditional Japanese sitting position with knees bent under the body.
Senpai - Kohai: Value important old student - new student in martial arts.
SEN NO SEN: "First things first. Ability to sense the attack and to anticipate the other.
SEN: Positive / Initiative, first.
senpai: Student superior to oneself.
SENSEI NI REI: Salute between teacher and students.
SENSEI: Teacher or teacher, "he who goes before."
SETSUZOKU: Connection. SHI
: Four (YON) / Person.
shidoin: A formal title meaning roughly "Instructor" (4th and 5th. Dan).
SHIHAN: A formal title meaning roughly "Master Instructor", "Instructor of Instructors." SHIHO
NAGE: Screening in four directions. SHIHO
Four directions.
SHIKAKU: Blind spot.
SHIKI: Value.
Shikka; roller, Samurai walking.
SHIME: Strangulation.
Shimoseki: Right to Kamiza.
SHIMOZA: Kamiza opposite side. SHIN SHIN
Shugyo: Training the mind and body. SHIN
: Mind, spirit.
SHINOGI: ridges on the blade of the sword.
Shintai: Movement straight.
SHINTO: The Way of the Gods. Folk religion of Japan (Shintoism).
SHINZO: The place of the altar in the Dojo.
Shisei: Attitude alert (guard position).
shizentai: Position or natural body posture.
SHO: Front / Top / Writing. SHOBU
AIKI: The wisdom of life through the practice of Aikido.
SHODAN: First degree black belt.
SHODEN: By writing. SHOMEN
NI REI: Welcome to the founder of the discipline. SHOMEN
UCHI: Blow up and down front.
SHOMEN: Facing the top of the head. Also so-called head of a dojo.
notes: Conserve energy. Shut
: Blow dry with knife hand.
SICHI (NANA): Seven. Sode Dori
: Decision sleeve below the elbow.
Sode: Manga. Sotai
DOGA (Sotai Renshu): Exercises in pairs.
SOTO: Exterior, from "outside."
suburi: Individual Exercise repeatedly hit and attack with Jo or Bokken, to improve performance. SUKASHI
WAZA: Techniques carried out without allowing the attacker to complete a take or initiate a coup. SUKI
: A gap or opening in which one is vulnerable to attack or application of a technique. SUMI
Otoshi: Dropping Uke aside.
SUMI: corner, angle, corner. Sutemi
WAZA: Techniques of sacrifice.
sutemi: Literally "to throw the body." Suwari
WAZA: Techniques with Nage and Uke knees.
suwari: Sitting.
SUWATTE: Sit in Seiza.

T:
TACHI DORI: handsfree Defense against sword attacks. TACHI
WAZA: Techniques foot.
TACHI: Sword / Standing.
Tai Jutsu: "Arts of the body, ie unarmed. NO HENKA
TAI (TAI NO HENK): Change of Hanmi.
TAI NO SEN: At the same time. Login to intersect the attack. TAI
SABAKI: circular movement or displacement. TAKEMUSU
AIKI: An expression of the founder, "infinitely generative martial art of Aiki".
TAKEMUSU: "Marcial - creative." TAMA
HIREBURI NO: Vibration running his hands together in front of the abdomen, left hand up right.
TAMA: Alma.
Session: Abdomen.
TANINZUGAKE: Training against multiple attackers, usually attacks grip. SO
DORI: handsfree Defense against knife attacks.
SO: Knife.
TATAMI: mats for practice. TATE
: Get up. TE
SABAKI: circular movement of the hands.
TE: Hand.
tegatana: "Hand sword", ie the edge of the hand. Tekubi
SHINDO: Exercises capillary shaking hands. Arms are raised and carefully shake hands, then lower their arms to relax. Tekubi
UNDO: Stretching and preparation for the dolls.
tekubi: Forearm, wrist.
TEN: Heaven. Tenchi
NAGE: Technique of "projection of Heaven and Earth." TENKAI
ASHI: Turn the body without walking. Tenke
: Rotate the body back. Movement in which the body rotates to dissipate the force.
Tenshin: A movement in the form circular. Nage retrocede 45° fuera del ataque (hacia el lado abierto del Uke).
TENUGI: Pañuelo.
TO MA: Gran distancia.
TOBI: Saltar.
TOKUI WAZA: Técnica o movimiento favorito de un Aikidoka.
TORI: Quitar, tomar (DORI) / El que ejecuta la técnica defensiva (NAGE).
TSUBA: Protector del puño de la espada.
TSUGI ASHI: Paso de seguimiento, andar manteniendo siempre el mismo pie por delante.
TSUKI: Golpe de puño frontal.
TSUKURI: Preparación de la postura para ejecutar la técnica.

U:
UCHI DESHI: Estudiante quien vive dentro del dojo.
UCHI: por "dentro" (Interior) / Golpe.
UCHIKOMI: Trouble in the air. EDU
UNDO FURY: Exercise circular movement of the arms together.
UDE: Arm. UDEKIME
NAGE (Juji NAGE): Screening exercise lever arm at the elbow, back. UESHIBA
KISSHOMARU: Son of the founder of Aikido.
Morihei Ueshiba, Founder of Aikido (O'Sensei and Kaiser). UESHIBA
Moriteru: Grandson of the founder. Current Doshu. UKE
(AITE): The attacking and get defensive technique. One who is lying.
UKEMI: "Receiving with by the body." Art of falling in response to a technique without injury.
UNDO: exercise, practice. URA
"behind", "background." Technical conducted behind of Uke. USHIRO
DORI (USHIRO Hagai SHIME): Hug from behind. DORI Katata USHIRO
KUBI SHIME: From behind, choke with the forearm and wrist making. USHIRO
KUBI SHIME: Choke from behind with a forearm. RYO USHIRO
HIJI DORI: From behind, making the two elbows. RYO KATA DORI USHIRO
: Grabbing both shoulders from behind. DORI tekubi USHIRO
RYO (USHIRO Ryota DORI): From behind, grabbing both wrists. Our school is also used: USHIRO tekubi DORI. TORI USHIRO
UNDO: Exercise by which projects forward to an opponent who embraces us behind. USHIRO
UKEMI: Fall back, back.
USHIRO WAZA: Techniques of defense against attacks from behind.
USHIRO: Back or behind.
Uwagi: Saco.

W:
WA: Former Japanese word meaning harmony, agreement, coordination.
WAKA-SENSEI: Young Master, usually the son of Doshu, and who will replace him in office.
WAKISASHI: Sable short.
WAZA: Technique.

Y:
YAME: Stop.
YANG: Positive polarity or representation of the active force.
YAWARAKAI: Soft, relaxed, flexible.
YIN: negative polarity or representation of the passive force.
I KI: Growing energy.
YOKO MEN UCHI: Strike diagonal downward move forward, to the temple or neck.
YOKO MEN: Lateral head. YOKO
UKEMI: Drop side.
YOKO: Side.
YOMI: Intuit, predict, guess. Nonverbal communication.
Yonkyo (tekubi Osae): Fourth teaching. Retention by the forearm.
YU KI: Courage.
YUDANSHA: Aikidoka Dan grade.
YUKURI: Slowly.

Z:
ZA: Sitting, sitting, seat.
ZANSHIN: complete and continuous awareness of what surrounds us.
ZAZEN: kneeling meditation exercise used by the sect of Zen Buddhism
ZEN: Discipline of light connected with the doctrine Buddhist call Dhyana in India and Ch'an in China. ZENG
UNDO: Exercise for the front and back in Ikki undo.
ZOORI: Sandals.
ZUBON: PANTS.

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New foundation aims to help gambling addicts

The Cacin are the main meeting place for those addicted to gambling. Here, a slot machine. Image: Andrés García

Imitates modeled after Alcoholics Anonymous to try to save those who do not resist the charm of the roulette, poker and slot machines.

Miguel V. is an accomplished player. On three occasions he has tried to stay away from gambling, but his addiction was stronger than his will.


This executive Bogota, 39, played in casinos, Monday through Friday. Once out of their work in an advertising agency, seeks a session roulette or poker that just before 2 am.


Sometimes part to his lonely home with hundreds of thousands of pesos, likewise, will bet the next day. At other times, most of the time, the balance of your eyes turn red when you review the other day, the euphoria of the night game, their accounts.


"Only four hours sleep, but I'd come home late to not think that I have debts," says the addict who, for the fourth time, try to seek help from others to heal from their evil.


In previous attempts to escape the gambling, Miguel V. underwent treatments rehabilitation centers, but to return to his world fell back into the fever of gambling. Now he wants to attend the Foundation therapies targeted, non-profit organization modeled after Alcoholics Anonymous to try to cure gamblers.



impulse disorder


What is gambling? Mental illness is a chronic, progressive and relapsing included by the World Health Organization since 1994, in the international classification of disease as a disorder of impulse.


"So I felt for decades, as a mental patient who had no control de sus actos", dice Edgar V., un conocedor de los altos círculos y los bajos fondos de apuestas que decidió organizar Orientamos, un grupo de ‘ludópatas anónimos’, para ayudar a otros que, como le sucedió a él mismo durante más de una década, no pueden escapar al poder absorbente de los casinos.


"El juego patológico es un trastorno que puede definirse como un fracaso crónico y progresivo en resistir los impulsos de apostar, los cuales dominan la vida del enfermo en perjuicio de los valores y obligaciones sociales, laborales y familiares", explica Edgar V. en un escrito con el que promueve su propuesta.


A la Fundación Orientamos llegan personas que have risked or lost their jobs, accumulated debts or abandoned their families. "They also appear ill with symptoms of suicide or crimes," said Ruben A., another of those attending the sessions. To participate you must recognize that you have gambling, intending to heal and preserve the anonymity of the group.


Colombian Pathological Gambling Foundation is another organization that offers healing therapies for problem gambling. Although it is also a non-profit institution, the two-month outpatient treatment costs 1,500.000 pesos. The gamblers have psquiátrica counseling, psychological and legal.


This organization, que ha curado a centenares de adictos al juego, funciona hace 4 años y es reconocida en medio del fervor de los casinos y las apuestas.


‘Necesito ayuda’


La escena de ver llorar a Miguel V. mientras les pide ayuda a los otros ‘ludópatas anónimos’ que asisten a una de las reuniones del grupo, es estremecedora. El adicto, a pesar de ser funcional y haber mantenido su empleo, tiene historias para contar y querer huir de los casinos que le arrebataron una familia, dos casas y varios carros.


Su historia estremece a los otros adictos. "Este es un mal viejo. En ‘El Jugador’ de Fedor Dostoievsky ya está la angustia de los que nos enfermamos por gambling, "says Edgar V. before starting their dream: a night in which several anonymous gamblers gather to exchange experiences away from their evil.

'In my bets lose more than it had'
My name is Alfonso C.
and am on the set of guidelines from the first session.


a couple of months ago I met other gambling addicts who wanted to get away from his illness.


To be honest I do not know if I can achieve my goal. Just take a couple of weeks without betting and I feel that any time I fall again. I've tried everything. I have gone to psychiatrists, doctors, sorcerers and even at the Condor Club, in downtown Bogota. There is low stakes, 500 pesos. I went to 20,000 and I stayed up three days playing poker, but to lose less money you are not cured of evil. I slept badly, had cold sweats and anxiety stay in the game.


This is my last bet. I've lost more than they had.

Recommended for players and their families>



who has to forgive is yourself.

player
Lies are a consequence of the game and part of the problem to be solved.


Once the player has contracted debts must remedy, but solving the economic problem is not solving the problem of the game.


The family is a help to solve the problems, but the responsibility lies with the player.


The punter is the only person able to fix the force of will, his problem.


The player is sick and therefore should be treated with love and respect for his inner circle.


however, should not be approved or allow negative actions incurred as a result of their addiction.


The gambler has to bear the tension in the family will stay for long.


This stressful situation part of problem gambling and will not disappear even if this some time without betting. Being


player does not mean being a bad father, bad husband or bad son.


be betting means having a serious problem that needs treatment.


The relationship between father and children is an important issue regardless of the game.


Pathological gambling, like any other addiction is a disease that requires a slow process of family support for full recovery.


Rebet not mean all is lost. It's just one more reason to continue. HECTOR HURTADO


CANYON Redactor de EL TIEMPO


Con Información de www.juego-patologico.org y Fundación Orientamos.

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