scapha


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scapha

 [ska´fah] (L.)
the curved depression separating the helix and antihelix of the ear.

sca·pha

(ska'fă, skā'fă),
1. The longitudinal furrow between the helix and the antihelix of the auricle. Synonym(s): fossa of helix
2. Obsolete term for scaphoid fossa.
[L. fr. G. skaphē, skiff]

sca·pha

(skā'fă)
The longitudinal furrow between the helix and the antihelix of the auricle.
[L. fr. G. skaphē, skiff]
References in periodicals archive ?
Slightly trimming the scapha cartilage by partial abrasion can prevent sharp antihelical folding; however, combining this technique with suturing techniques can achieve better results.
Cartilage and perichondrium were removed from an elliptical incision of the scapha. The graft's size required per eyelid was 18 mm long and 8 mm wide.
We prefer to obtain the graft from the scapha which is thinner and has a more adequate shape and curvature than concha graft.
In conclusion, leprosy patients with paralytic lagophthalmos refractory to conventional repair can be treated using an auricular graft from the scapha with good aesthetic and functional results.
Eyelid reconstruction using cartilage grafts from auricular scapha. Eur J Plast Surg, 1999; 22: 96-101.
This is especially true of Scene 3, which has an extended conversation between his mistress Philematium and her maid Scapha as the former completes her toilette.
(25) Though Philematium is, by theatrical necessity, already clothed when she emerges from the house, her conversation with Scapha replicates the process through which a woman of fashion in antiquity would go to prepare herself for going out: from dress to hair to jewels to cosmetics to perfume.
She too loves him, so much so that she tells the maid Scapha during the course of the dressing scene that she intends to devote herself only to him, abandoning all of the other men who desire her services--an idea that Scapha, older and wiser, thinks foolhardy.
Similarly, in the dressing scene of the Mostellaria, Philematium's statements can be read as parodying the concerns of a young bride, as, for example, when she answers Scapha's worries about what they will live on, should Philolaches abandon her: ut fama est homini, exin solet pecuniam invenire.
Thus, when Scapha urges her mistress not to wear too much purple in her clothing or too much makeup on her face, she echoes the Roman mor alists who deplored fashionable women's propensity to extravagant adornment.
This is not to argue that Scapha and Philematium are cognizant of, and playing to, Philolaches' unseen presence; rather, we should see him in a metatheatrical sense, as an on-stage audience for their conversation, an audience who mirrors and reflects back on the response of the larger audience sitting in the stalls of the theater.