Hibridaciones de género en el videoarte español

Comunicaciones del IV Congreso Internacional sobre análisis fílmico celebrado en la Universitat Jaume I de Castellón 4,5 y 6 de mayo de 201

Compromising between European and US allergen immunotherapy schools: Discussions from GUIMIT, the Mexican immunotherapy guidelines

Background: Allergen immunotherapy (AIT) has a longstanding history and still remains the only disease-changing treatment for allergic rhinitis and asthma. Over the years 2 different schools have developed their strategies: the United States (US) and the European. Allergen extracts available in these regions are adapted to local practice. In other parts of the world, extracts from both regions and local ones are commercialized, as in Mexico. Here, local experts developed a national AIT guideline (GUIMIT 2019) searching for compromises between both schools. Methods: Using ADAPTE methodology for transculturizing guidelines and AGREE-II for evaluating guideline quality, GUIMIT selected 3 high-quality Main Reference Guidelines (MRGs): the European Academy of Allergy, Asthma and Immunology (EAACI) guideines, the S2k guideline of various German-speaking medical societies (2014), and the US Practice Parameters on Allergen Immunotherapy 2011. We formulated clinical questions and based responses on the fused evidence available in the MRGs, combined with local possibilities, patient's preference, and costs. We came across several issues on which the MRGs disagreed. These are presented here along with arguments of GUIMIT members to resolve them. GUIMIT (for a complete English version, see Supplementary data) concluded the following: Results: Related to the diagnosis of IgE-mediated respiratory allergy, apart from skin prick testing complementary tests (challenges, in vitro testing and molecular such as species-specific allergens) might be useful in selected cases to inform AIT composition. AIT is indicated in allergic rhinitis and suggested in allergic asthma (once controlled) and IgE-mediated atopic dermatitis. Concerning the correct subcutaneous AIT dose for compounding vials according to the US school: dosing tables and formula are given; up to 4 non-related allergens can be mixed, refraining from mixing high with low protease extracts. When using European extracts: the manufacturer's indications should be followed; in multi-allergic patients 2 simultaneous injections can be given (100% consensus); mixing is discouraged. In Mexico only allergoid tablets are available; based on doses used in all sublingual immunotherapy (SLIT) publications referenced in MRGs, GUIMIT suggests a probable effective dose related to subcutaneous immunotherapy (SCIT) might be: 50–200% of the monthly SCIT dose given daily, maximum mixing 4 allergens. Also, a table with practical suggestions on non-evidence-existing issues, developed with a simplified Delphi method, is added. Finally, dissemination and implementation of guidelines is briefly discussed, explaining how we used online tools for this in Mexico. Conclusions: Countries where European and American AIT extracts are available should adjust AIT according to which school is followed

Role of age and comorbidities in mortality of patients with infective endocarditis

[Purpose]: The aim of this study was to analyse the characteristics of patients with IE in three groups of age and to assess the ability of age and the Charlson Comorbidity Index (CCI) to predict mortality. [Methods]: Prospective cohort study of all patients with IE included in the GAMES Spanish database between 2008 and 2015.Patients were stratified into three age groups:<65 years,65 to 80 years,and ≥ 80 years.The area under the receiver-operating characteristic (AUROC) curve was calculated to quantify the diagnostic accuracy of the CCI to predict mortality risk. [Results]: A total of 3120 patients with IE (1327 < 65 years;1291 65-80 years;502 ≥ 80 years) were enrolled.Fever and heart failure were the most common presentations of IE, with no differences among age groups.Patients ≥80 years who underwent surgery were significantly lower compared with other age groups (14.3%,65 years; 20.5%,65-79 years; 31.3%,≥80 years). In-hospital mortality was lower in the <65-year group (20.3%,<65 years;30.1%,65-79 years;34.7%,≥80 years;p < 0.001) as well as 1-year mortality (3.2%, <65 years; 5.5%, 65-80 years;7.6%,≥80 years; p = 0.003).Independent predictors of mortality were age ≥ 80 years (hazard ratio [HR]:2.78;95% confidence interval [CI]:2.32–3.34), CCI ≥ 3 (HR:1.62; 95% CI:1.39–1.88),and non-performed surgery (HR:1.64;95% CI:11.16–1.58).When the three age groups were compared,the AUROC curve for CCI was significantly larger for patients aged <65 years(p < 0.001) for both in-hospital and 1-year mortality. [Conclusion]: There were no differences in the clinical presentation of IE between the groups. Age ≥ 80 years, high comorbidity (measured by CCI),and non-performance of surgery were independent predictors of mortality in patients with IE.CCI could help to identify those patients with IE and surgical indication who present a lower risk of in-hospital and 1-year mortality after surgery, especially in the <65-year group

A922 Sequential measurement of 1 hour creatinine clearance (1-CRCL) in critically ill patients at risk of acute kidney injury (AKI)

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La representación de la(s)masculinidad(es) en el videoarte español (2000-2010)

In this dissertation, we have sought to develop an analysis of the representation of masculinities through fifty works of made in Spain video art during the first decade of the 21st Century. In order to do this, we have selected those works of video art whose main subject is the questioning of hegemonic masculinity or the disclosure of subversive masculinities through the representation of the body. We have chosen pieces widely and currently accessible, which have been previously shown in the Spanish art scene. The heterogenic selection aims at representing the wide range of masculinities and works of video art. The applied methodology has been the critical analysis of audiovisual texts and the hermeneutic of images. We have sought to build up a multidisciplinary theoretical approach, following the recent principles developed by Visual Studies, Audiovisual Communication Studies and Film Theory, and based on the epistemology contrived by Queer Theory and Men’s Studies. Through the images shown in these works, we will be able to discover what are the mechanisms used in the construction of the male identity, in addition to the elements and attributes characteristic of the hegemonic masculinity model, a model which conditions the rest of the masculinities that exist within the social spectrum. We will be able to visualize the extensive range of masculinities constituting the current masculine identity through the different formats, styles and narratives that shape the contemporary Spanish video art. Such identity does not only include a single gender and a single sexuality, this new masculinity is made from different bodies with different status, races, genders and sexualities. Our dissertation shows the possibilities of video art as a critical tool against the patriarchal system and as a display for all these non-heteronormal masculinities

Género y cuerpo en construcción. Representación audiovisual de la violencia física y psicológica en La piel que habito (2011)

International audienceEste artículo se centra en el estudio de los elementos que intervienen en la construcción de la identidad, especialmente en la configuración del género, el sexo y la sexualidad, así como en aquellas violencias que intervienen en dicha construcción. Para ello, tomamos como estudio de caso el análisis de La piel que habito (Pedro Almodóvar, 2011), un filme a través del cual se podrán deconstruir dichos procesos identitarios, así como los ejercicios de poder vinculados a dicha construcción. Un trabajo a partir del cual desmontar los convencionalismos heteronormativos, reafirmar la construcción cultural de la identidad de género y denunciar la violencia derivada de la hegemonía patriarcal. La metodología empleada se basa en la semiótica visual y el análisis fílmico desde la perspectiva de los Gender Studies. De dicho análisis se desprende la concepción de la violencia machista como una violencia estructural derivada de la dominación masculina y del sistema patriarcal, así como la performatividad en los procesos de construcción identitarios.Cet article étudie les éléments qui participent à la construction de l’identité, en particulier dans la configuration du genre, du sexe, et de la sexualité, ainsi que les violences qui interviennent dans leur formation. Pour ce faire, nous avons choisi d’analyser La piel que habito (Pedro Almodóvar, 2011) comme étude de cas, un film à partir duquel on pourra déconstruire ces processus identitaires et les exercices de pouvoir liés à cette construction. Dans cet article, les conventionnalismes hétéronormatifs seront mis au jour, la construction culturelle de l’identité de genre réaffirmée, et la violence dérivée de l’hégémonie patriarcale dénoncée. La méthodologie utilisée repose sur la sémiotique visuelle et l’analyse filmique depuis la perspective des Gender Studies. Cette analyse met en exergue la conception de la violence machiste comme une violence structurelle dérivée de la domination masculine et du système patriarcal, ainsi que la performativité dans les processus de construction identitaires

Género y cuerpo en construcción. Representación audiovisual de la violencia física y psicológica en La piel que habito (2011)

International audienceEste artículo se centra en el estudio de los elementos que intervienen en la construcción de la identidad, especialmente en la configuración del género, el sexo y la sexualidad, así como en aquellas violencias que intervienen en dicha construcción. Para ello, tomamos como estudio de caso el análisis de La piel que habito (Pedro Almodóvar, 2011), un filme a través del cual se podrán deconstruir dichos procesos identitarios, así como los ejercicios de poder vinculados a dicha construcción. Un trabajo a partir del cual desmontar los convencionalismos heteronormativos, reafirmar la construcción cultural de la identidad de género y denunciar la violencia derivada de la hegemonía patriarcal. La metodología empleada se basa en la semiótica visual y el análisis fílmico desde la perspectiva de los Gender Studies. De dicho análisis se desprende la concepción de la violencia machista como una violencia estructural derivada de la dominación masculina y del sistema patriarcal, así como la performatividad en los procesos de construcción identitarios.Cet article étudie les éléments qui participent à la construction de l’identité, en particulier dans la configuration du genre, du sexe, et de la sexualité, ainsi que les violences qui interviennent dans leur formation. Pour ce faire, nous avons choisi d’analyser La piel que habito (Pedro Almodóvar, 2011) comme étude de cas, un film à partir duquel on pourra déconstruire ces processus identitaires et les exercices de pouvoir liés à cette construction. Dans cet article, les conventionnalismes hétéronormatifs seront mis au jour, la construction culturelle de l’identité de genre réaffirmée, et la violence dérivée de l’hégémonie patriarcale dénoncée. La méthodologie utilisée repose sur la sémiotique visuelle et l’analyse filmique depuis la perspective des Gender Studies. Cette analyse met en exergue la conception de la violence machiste comme une violence structurelle dérivée de la domination masculine et du système patriarcal, ainsi que la performativité dans les processus de construction identitaires

¿Tiene la imagen género?: una propuesta metodológica desde los Gender Studies y la estética audiovisual

Dentro de la comunicación audiovisual imperan en muchos trabajos las metodologías cuantitativas y cada vez se hacen más escasas las aportaciones en congresos y revistas de trabajos de marcado carácter estético y teórico. Nos encontramos en un momento de búsqueda de una metodología de análisis que nos permita investigar en el ámbito audiovisual en combinación con la perspectiva teórica (y sus implicaciones) de los estudios de género (Gender Studies). Las representaciones audiovisuales contemporáneas analizadas desde la perspectiva de género (sin obviar tampoco la problemática de los nuevos medios de producción, distribución y exhibición) requieren de un cambio metodológico a la hora de afrontar su investigación y análisis.In many Works in Audiovisual Communication (Film Studies or similar) the most popular is a quantitative methodology. Aesthetics and Theory of Film are old fashion. In our paper we propose a return to Aesthetics, a return to Theory; a multidisciplinary approach that allows combining both studies: Film and Gender. Propose a methodological requirement for competent analysis systems from the perspective both filmic and gender and sexuality

Machos violentos y peligrosos. La figura del maltratador en el cine almodovariano

Introduction. Violence against women is an act performed by men to reaffirm their masculinity and impose their hegemony by force. This article presents the results of a study of gender-based violence in Almodóvar‟s films, focused on the figure of the male batterer, not the victims, the female characters. Methods. The study is based on two complementary analytical models: 1) a model of visual semiotic analysis from the perspective of gender studies, and 2) the quantification of the types of abuses carried out by male characters in Almodóvar‟s filmography, as well as the factors that define these archetypes. Results and conclusions. Within the amalgam of masculinities portrayed in Almodóvar‟s films, there are different types of male characters who commit violence against women through harassment, rape and murder.Introducción. La violencia contra las mujeres por parte de los hombres es una forma de reafirmar la masculinidad e imponer su hegemonía a través de la fuerza. Planteamos el estudio de la violencia de género en el cine almodovariano, no a partir de la víctima, sus personajes femeninos, sino a través de la figura del maltratador. Metodología. Realizamos dos modelos analíticos complementarios, como son: 1) la semiótica visual desde la perspectiva de los estudios de género, 2) la cuantificación de la tipología de maltratos llevados a cabo por los personajes masculinos representados en el cine de Almodóvar, así como los factores que definen a estos arquetipos. Resultados y Conclusiones. Dentro de la amalgama de masculinidades representadas en el cine de Almodóvar existen diferentes tipos de personajes masculinos que agreden a la mujer a través del acoso, la violación y el asesinato