Treatment
The main source of shoulder pain, shoulder arthritis, is first managed in early stages with physical therapy and non-steroidal anti-inflammatory (NSAID) drugs. Surgery is considered if pain worsens. There are two primary methods for shoulder replacement; total shoulder replacement and reverse shoulder replacement. Total shoulder replacement involves a replacement of the ball and socket joint. A metal ball is used to replace the humeral head and a plastic socket replaces the cartilage on the glenoid cavity. Once complete this method looks and functions like the original joint.
A reverse shoulder replacement is used to treat patients with severe damage or arthritis of the shoulder joint. It involves the insertion of a metal ball section to the glenoid instead of the humerus and the socket section being added to the humerus. This method allows the arm to be moved primarily by the deltoid instead of the rotator cuff.
Non surgery options are preferred treatment for a variety of reasons. Besides not wanting to risk the usual risks of surgery such as infection, shoulder replacement can lead to a variety of complications including rotator cuff tear and glenohumeral instability. However despite these risks, shoulder replacement shows promise with a low rate of complication which depending on the type of surgery is close to 5%.
Read more about this topic: Shoulder Replacement
Famous quotes containing the word treatment:
“Any important disease whose causality is murky, and for which treatment is ineffectual, tends to be awash in significance.”
—Susan Sontag (b. 1933)
“Our treatment of both older people and children reflects the value we place on independence and autonomy. We do our best to make our children independent from birth. We leave them all alone in rooms with the lights out and tell them, “Go to sleep by yourselves.” And the old people we respect most are the ones who will fight for their independence, who would sooner starve to death than ask for help.”
—Margaret Mead (1901–1978)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)