Dramamine interactions: Dramamine Interactions Checker – Drugs.com
Dramamine Interactions Checker – Drugs.com
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There are 374 drugs known to interact with
Dramamine (dimenhydrinate), along with
5 disease interactions, and 1 alcohol/food interaction.
Of the total drug interactions,
8 are major, 364 are moderate, and 2 are minor.
Does Dramamine interact with my other drugs?
Enter other medications to view a detailed report.
- View all 374 medications that may interact with Dramamine
- View Dramamine alcohol/food interactions (1)
- View Dramamine disease interactions (5)
Most frequently checked interactions
View interaction reports for Dramamine (dimenhydrinate) and the medicines listed below.
- Major
- Moderate
- Minor
- Unknown
- aspirin
- aspirin
- Benadryl (diphenhydramine)
- Benadryl (diphenhydramine)
- gabapentin
- gabapentin
- ibuprofen
- ibuprofen
- meclizine
- meclizine
- melatonin
- melatonin
- omeprazole
- omeprazole
- prednisone
- prednisone
- tramadol
- tramadol
- trazodone
- trazodone
- Tylenol (acetaminophen)
- Tylenol (acetaminophen)
- Vitamin D3 (cholecalciferol)
- Vitamin D3 (cholecalciferol)
- Xanax (alprazolam)
- Xanax (alprazolam)
- Zofran (ondansetron)
- Zofran (ondansetron)
- Zyrtec (cetirizine)
- Zyrtec (cetirizine)
Dramamine alcohol/food interactions
There is 1 alcohol/food interaction with Dramamine (dimenhydrinate).
Dramamine disease interactions
There are 5 disease interactions with Dramamine (dimenhydrinate) which include:
- prematurity
- anticholinergic effects
- asthma/COPD
- cardiovascular
- renal/liver disease
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Drug Interaction Classification
| Major | Highly clinically significant. Avoid combinations; the risk of the interaction outweighs the benefit. |
|---|---|
| Moderate | Moderately clinically significant. Usually avoid combinations; use it only under special circumstances. |
| Minor | Minimally clinically significant. Minimize risk; assess risk and consider an alternative drug, take steps to circumvent the interaction risk and/or institute a monitoring plan. |
| Unknown | No interaction information available. |
Always consult your healthcare provider before starting or stopping any medication.Further information
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Dramamine Original Formula Interactions – Drugs.com
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There are 374 drugs known to interact with
Dramamine Original Formula (dimenhydrinate), along with
5 disease interactions, and 1 alcohol/food interaction.
Of the total drug interactions,
8 are major, 364 are moderate, and 2 are minor.
Does Dramamine Original Formula interact with my other drugs?
Enter other medications to view a detailed report.
- View all 374 medications that may interact with Dramamine Original Formula
- View Dramamine Original Formula alcohol/food interactions (1)
- View Dramamine Original Formula disease interactions (5)
Most frequently checked interactions
View interaction reports for Dramamine Original Formula (dimenhydrinate) and the medicines listed below.
- Major
- Moderate
- Minor
- Unknown
- Benadryl (diphenhydramine)
- Benadryl (diphenhydramine)
- cephalexin
- cephalexin
- gabapentin
- gabapentin
- hydroxyzine
- hydroxyzine
- ibuprofen
- ibuprofen
- levothyroxine
- levothyroxine
- losartan
- losartan
- magnesium oxide
- magnesium oxide
- melatonin
- melatonin
- MiraLAX (polyethylene glycol 3350)
- MiraLAX (polyethylene glycol 3350)
- ondansetron
- ondansetron
- prednisone
- prednisone
- Tylenol (acetaminophen)
- Tylenol (acetaminophen)
- Vitamin D3 (cholecalciferol)
- Vitamin D3 (cholecalciferol)
- Zyrtec (cetirizine)
- Zyrtec (cetirizine)
Dramamine Original Formula alcohol/food interactions
There is 1 alcohol/food interaction with Dramamine Original Formula (dimenhydrinate).
Dramamine Original Formula disease interactions
There are 5 disease interactions with Dramamine Original Formula (dimenhydrinate) which include:
- prematurity
- anticholinergic effects
- asthma/COPD
- cardiovascular
- renal/liver disease
Report options
Loading…
QR code containing a link to this page
More about Dramamine Original Formula (dimenhydrinate)
- Compare alternatives
- Side effects
- Dosage information
- During pregnancy or
Breastfeeding
Related treatment guides
- Motion Sickness
- Nausea/Vomiting
Drug Interaction Classification
| Major | Highly clinically significant. Avoid combinations; the risk of the interaction outweighs the benefit. |
|---|---|
| Moderate | Moderately clinically significant. Usually avoid combinations; use it only under special circumstances. |
| Minor | Minimally clinically significant. Minimize risk; assess risk and consider an alternative drug, take steps to circumvent the interaction risk and/or institute a monitoring plan. |
| Unknown | No interaction information available. |
Further information
Always consult your healthcare provider to ensure the information displayed on this page applies to your personal circumstances.
Medical Disclaimer
Drama approach (social dramaturgy)
Dramaturgical approach (social
dramaturgy) to the study of social
interactions.
Basic concepts of the theory:
goals and process, role theory, concept
face and loss.
“The whole world
– theater. There are women, men – everything
actors. They have their own exits, exits, and
everyone plays more than one role,” said
William Shakespeare. This is how the playwright described
the essence of the world in which man lives.
We’ll talk about social drama,
Let’s take a look at the basic concepts
on social interactions from the point
dramatic approach.
Drama
approach is a view of interaction,
according to which social situations
regarded as dramatic
miniatures, in the course of which
people tend to create about themselves
certain impressions, form
your image in the eyes of others.
B
dramatic model social
interaction is analyzed from the point
the view that people live their
life like actors on the stage.
The purpose of the individual is to be accepted by the audience,
playing out carefully thought out
performance. If the actor succeeds
with the task, then the audience will see
him as he wished to be seen.
Kenneth Burke
American writer, journalist
philosopher, communication theorist
influence on the formation and development
dramatic perspective in
sociology. They identified 5 elements
social interaction: action,
stage, actor, means and end. According to Burke,
to most cases of social
interaction and communication should
approach as a form of drama, results
which are determined by the ratio of these
five elements. This formula has become
known as “dramatic
pent and yes “and entrenched in the drama
method, according to which the relationship
between life and theater are understood
literally, not metaphorically
the world is the stage.
Ideas K.
Burke influenced the development of thought
Irving Hoffman – American sociologist
Canadian descent, follower
American school of social philosophy
pragmatism. In his work “Representing
yourself to others in everyday life” Hoffman
describes “dramatic”, or
“theatrical” approach in sociology. By
according to the American thinker, “if
we present ourselves as directors,
observing what is happening
scene of everyday life, then we spend
dramaturgical analysis, – study
social interactions using
theatrical terminology.
Sociologist
introduced 6 concepts that structure
dramatic activity of the individual:
Scene –
the place where the ostentatious unfolds
behavior of the individual, i.e. on the stage
an individual (or a politician) commits his
actions that, in his opinion, should
influence the audience’s opinion of him.
The scene can be real (public
rally, speech on television
studios, meeting with voters), or maybe
to be virtual (newspaper article with
description of home, family environment;
appeal leaflet).Front
a plan is not so much a place as
the actions themselves “for show”. Foreground
focuses on these activities.Proscenium
– the disposition of the individual (or politician),
in relation to other actors
(policy positioning).Furnishings
sets the context for all the actions of an individual
(policy). Furnishing optional
created by the individual himself (politician or
his team), like scenery.
The situation may or may not be under control.
individual, politician, his consultants.Backstage
zone is the place where
activities that, for one reason or another
reasons should not be the subject
public contemplation: preparation for
performance, small and big flaws
in the behavior of the individual, etc.External
appearance is the image of a politician or an individual.
The main function of appearance is
expressiveness. Image can
interpret as a character set,
ideological markers that refer
to the ideology of the candidate, to his political
“essence”.
I. Hoffman
developed a unique dramatic
approach commonly used in
microsociological research
to describe social interactions
in everyday life.
In modern
sociological research
dramatic approach is used
to describe how public
movements can transmit power,
also a dramatic approach is used
in interdisciplinary scientific research,
known as Technoself, which
studies human identity
technological society.
Criticism
dramatic approach
A number of scholars
speaks out against dramaturgy,
because the concept is not conducive
understanding patterns in functioning
society, which is the goal of sociology.
Theory
roles
Important in
Role theory is a statement about
that the basic mechanism and structure
personalities are associated with a role entity.
The individual is seen as a totality
her social roles. According to these
views, a person in his life, in communication
with other people, activities never
remains “just a man”, and
always plays one role or another.
is a carrier of certain
social functions and public
standards.
Version
roles is of great importance in the development
human Personality Development Of The Psyche,
mental activity, social
needs occur in no other way than
in the performance of certain public
role functions, and the socialization of a person
is the formation of
social roles.
Hoffman
identifies three basic roles that differ
to those who and to what information has
access. Artists most
informed. Audience knows
only what the performers revealed to them, and
what they learned from their own
observations. Outsiders possess
the most insignificant information, and
sometimes they don’t know anything at all.
Roles
can be divided into three groups:
roles,
manipulating information and approximate
to group:Informant –
a person applying for a place in the team,
who is allowed to go backstage
and receive destructive information,
and which then openly or secretly
revealing secrets to the public. For example,
spies or traitors.Podsadnoy
(decoy duck) – role, back
the opposite of “informant”. Individual
pretends to be a member of the audience
being a member of the execution team.
Its task is to manipulate the reaction
audience.
roles,
facilitating contact
between two teams:Mediator
(shuttle) – usually operates with
the permission of both parties, speaking in
as mediator and/or messenger,
facilitating communication between different teams.
The shuttle learns many secrets, maybe
not be as impartial as
Seems.
roles,
blending foreground and background:Inactive
person (statist) – an individual present
on a view that has been granted access
behind the scenes, but which is not part of
“show”. Its role is obvious, and therefore
often it is simply ignored.
For example, a waiter, a maid.Specialist
by services – an individual, in services
which performers need. His
often invited backstage. Examples
hairdressers can serve
plumbers.Colleague –
an individual similar to the performer, but not
being a member of this team.Trusted
person or confidant – an individual,
to whom the performer trusts the details
staging. Communication with him
with the mask removed, out of the image.
Its role is obvious, and therefore Version
roles is accompanied by certain
repetitive actions and behaviors.
The exchange of socially accepted phrases and
gestures that are appropriate in a given situation;
stereotyped patterns of behavior
relationship stabilization functions,
social control, transfer of experience,
called rituals. The rituals were
special subject of study.
Hoffmann. Rituals matter a lot
in the process of managing impressions
other people.
They provide support
and protective functions. An example of a supportive
a good impression of a person is
respectful behaviour. E.
Hoffmann distinguished between two rituals of respectful
Behaviors: Ritual of Avoidance and Ritual
presentations. Avoidance rituals are
prescribed behavioral restrictions,
meant for people
did not infringe on freedom and individuality
each other. For example, the manifestation
goodwill towards you
familiar will be the traditional question of
affairs, well-being. However, it will sound
blasphemous if you know about
some tragic circumstances
the life of the interlocutor. Avoidance rituals
demand to remain silent about
embarrassing or defamatory episodes,
as well as silence about maintaining silence.
Rituals
presentations – prescribe ways
partner engagement
by expressing signs of respect.
Such signs are greetings,
invitations, compliments, small
services.
Rituals
can act as a form of protection
behavior, a way to manage conflict
interaction, method of regulation
communication in the event of a discrepancy in
determining the situation or expectations
between partners.
To protective rituals
E. Hoffman refers the process of avoidance,
refinement process and aggressiveness.
Process
avoidance means avoiding
contact with people with whom
conceals for us a hidden or immediate
danger. It also includes those reactions
to what is happening, which testify
about the “frivolous” attitude of a person,
threatened by “losing face”
the prevailing circumstances. in number
these reactions include, for example, attempts
joke or pretend
the lunge is not seen or understood.
If avoided
unpleasant situation is impossible, then
the participant in the interaction resorts to
corrective action to review
the established ritual in this situation,
or refinement process. Examples are
serve with emphatic courtesy
“offender”, preservation when communicating with
him external benevolence, exchange
visits and gifts.
If
anticipated course of events
deliberately violated, and the threat to persons
participating in the interaction is
intentional and conscious, used
aggressive rituals.
It happens in
cases where the offender, making sure
in the readiness of those present to give him
a chance for a fix and accept it
apologies, begins to feel
impunity and act
exclusively in their own interests,
demonstrating “cynical unbridledness”:
injections and ridicule, arrogance and
neglect.
Graphical user interface dramaturgy: from manifesto to textbook
[1]
Brenda Laurel Computers as Theatre. Addison-Wesley, 1993. P. 227,
Brenda Laurel. Computers as Theatre. 2-d edition, Addison-Wesley, 2013. P. 271.
Three years ago, the bestselling digital revolution book Computers as Theater by Brenda Laurel was reprinted. The good old theater model, repeatedly used to give dimension to the world and a person, efficiency to therapy and a commercial offer, intelligibility to the mechanisms of identification and memory of the Renaissance magician, this time was offered to a new generation of developers of digital environments for user-computer interaction.
If Steven Johnson or Lev Manovich at 19The 90s rewrote cultural technology in terms of interface and database, then Laurel went in the opposite direction. She used the resources of the performing arts and the humanities to conceptualize the experience and principles of computing technology.
The digital diva – as Laurel is sometimes called, who worked early in her career under Alan Kay and Donald Norman among the “teenage wizards at MIT” – does not hide the biographical circumstances that contributed to the translation of computer developments into the language of dramaturgy: at the university she studied stagecraft, and then moved on to programming. The book was written at 1989-1990 in the wake of the dissertation. Twenty years later, the author, who distinguished herself in the development of interactive media, the study of human-computer interaction, the teaching of graphic design, remained faithful to Brecht, Mikhail Chekhov, but mainly to Aristotle.
Building the dramatic concept of the interface, Laurel relies on the classics.
Without going into details, she reveals a strategic similarity in the pragmatics of the ancient Greek theater and modern computing technologies, which are recognized by contemporaries as ways of organizing thinking and contributing to the creation of a world of visibility and order unknown before. But most important for Laurel is the fact that both the theater and the computer are designed as interaction media. Moreover, the theater is a privileged cultural form of organizing interaction and representing an action that takes place in an imaginary world, but at the same time has very real consequences. The author believes that the description of the device, development and operation of the graphical user interface in the categories of the theater will make human-computer interaction more understandable.
The appeal to the theater in the text is consistently opposed to a wide range of conceptualizations – from step-by-step interaction with the first computers through complex syntax (commands had to be typed into the command line, and the result of the interaction was not visible), to “direct manipulations” with opening Windows or filling with trash desktop.
Laurel absolutely does not like it when her colleagues, working with the interface, abuse metaphors, reduce everything to the development of decorative screens and do not notice the main thing – the fundamental role of action, the arrangement and representation of which, in her opinion, should be dealt with by the designer.
Theater and its many metonyms are used here to reset the reader’s ideas about human-computer interaction. There was a place for scenery and props, stage and backstage, scripts and actors, playwright and director. Users are matched with the audience invited to the stage to participate in the play. Functionality – with an executable play script. And the graphic designer is with the scene artist. For both create representations of objects and environments, which in turn provide a context for action.
Laurel needs to develop a tool language that can be used to talk about how the user operates the cursor or brush in a graphics editor. The choice fell on Aristotle, because in the theatrical discourse of all times and peoples, nothing was better integrated and understood than his doctrine of drama.
In addition, the researcher sincerely believes that the Aristotelian paradigm, which allows describing the artistic process in logical terms, is more applicable to working with information technology than, say, post-structuralism. From start 19In the 1990s, it seemed to her that without clear and coherent structural elements, an interface cannot be built.
Four principles are used, which have no direct relation to the theater, six elements of tragedy and even a narrative scheme of the event. With their help, Laurel believes, the design of a play or a text editor can be thought of in terms of design logic and technical debugging. And yet the main analytical operation in the arsenal of the researcher herself remains unnamed. This is a translation from a computer language into Aristotelian. So, for example, a program – a set of instructions for action and arranging the environment for it – is equated to the script of a play or the first of the reasons for being. Modeling smacks of scholasticism, somewhere done with a frank stretch, but it does not cease to be an interesting intellectual enterprise.
It is interesting to see how Laurel, starting directly from Aristotle and leaving aside Austin/Butler, develops an early and highly original concept of performativity: working with the representation of an action and its effects (telling just in case that the operation “keep” or “delete” is not an action, but a representation of an action) describes the effective potential of representations of objects and instruments (be it a creaking window on a stage or a pop-up window on a desktop). If there is some epistemological imagination in the pragmatic complication of representation, one can distinguish signs of not only new knowledge about the interface, but also a powerful post-semiotic revision of humanitarian knowledge. From Aristotle, but this time bypassing Latour/Law, Laurel brings the character into a world where it is not necessary to be human in order to initiate or execute actions. This may be done by a computing device. Or one of his nodes.
How can one think of the representation of an action and its design? Based on the logic of the development of the plot of the play, Laurel proposes to work with probabilities, causalities and various kinds of interaction modes, of which he characterizes restrictions most carefully, and involvement most warmly.
Strictly speaking, the theater and the father of poetics are needed by the researcher in order to prove her right to work with action and create an environment for its implementation.
In the 1993 edition, the penultimate, sixth, chapter is curiously arranged. Here the author outlines the prospects for using the dramatic model to optimize existing or develop new areas of human-computer interaction. Thus, Laurel suggests revising the architecture of a text editor, subordinating it to pragmatics – the format and purpose of writing, which will turn cumbersome and isolated writing operations into a holistic activity related to their origins, materials and results. Or talks about the creation of a smart home in terms of restructuring and streamlining everyday life, where each application of a complex computing device becomes a separate episode of a big play. But – obeying the already serial logic – with his own catharsis.
In the 2013 edition, Laurel writes about new directions in interaction design as completed projects in the field of augmented reality, transmedia, mobile gadgets.