Poliglotismo cultural en dos obras de Carlos Fuentes: el espacio como lenguaje

This article attempts a semiotic analysis of the representation of the garden in two works by Carlos Fuentes ("Tlacocatzine, del jardín de Flandes", and Aura), where this space functions as a complex sign. The role of this sign changes from one texts to the other, partly due to the relationship both texts establilsh with other artisc codes (mainly the languages of painting, architecture, and the cinema). I will try to show how the garden shifts from being, in one work, the central symbol of the story, to being, in Aura, a kind of floating signifer, parodical an deliberately marginal. This is largely due to the stroggly pictorial character of the first story, which is organized by a principle of sensorial plenitude centering on the garden, in comparison with the much more unstable character of the visual dimension in Aura, qhich obeys a logic more akin to the moving images of the cinema.Se analiza, desde una perspectiva semiótica, la representación del jardín en dos obras de Carlos Fuentes ("Tlactocatzine, del jardín de Flandes" y Aura), donde ese espacio funciona como un signo complejo. Se muestra cómo el papel de este signo cambia de un texto a otro, debido, en parte, a la relación que cada uno establece con diferentes códigos artísticos (ante todo, los lenguajes de la pintura, la arquitectura y el cine). El jardín pasa de ser el símbolo central del ralato en la primera obra, a una especie de significante flotante, paródico y voluntariamente marginal en Aura. Se plantea que esto se debe, en gran medida, al carácter fuertemente pictórico del primer relato, organizado por un principio de plenitud sensorial centrado en el jardín, en contraste con el caráster mucho más movedizo de la dimensión visual en Aura, cuyo principio de organización se acerca más al movimiento cinematagráfico de la imagen

Des fleurs qui poussent dans le silence : le langage de la couleur dans Alias Grace

L’article explore la fonction de l’omniprésence du visuel, et en particulier de la couleur, dans le roman de Margaret Atwood, Alias Grace. Cette dimension visuelle, qui passe par la référence à des arts populaires et féminins comme la broderie et l’art du contrepoint, constitue le principe d’organisation du récit à tous les niveaux (autant au niveau synchronique et métaphorique comme au niveau diachronique de la narration), à tel point qu’elle se constitue en une forme narrative hybride et expérimentale qui cherche à court-circuiter l’ordre discursif linéaire pour proposer un système signifiant supra-verbal : celui-ci servirait à la fois à suppléer les insuffisances de la dénotation linguistique et à en contrecarrer les abus.The article explores the function played by the omnipresence of the visual, and especially of color, in Margaret Atwood’s Alias Grace. This visual dimension, which involves references to popular and feminine arts like embroidery and patchwork, organizes the novel at all levels (at the synchronic and metaphorical level as well as the diachronic, narrative one), to the point that it produces a hybrid, experimental narrative form which seeks to by-pass linear discourse in order to propose a supra-verbal signifying system: this system would both fill the gaps in linguistic denotation and correct its abuses

Cuando la literatura escribe la historia literaria

El artículo analiza una novela norteamericana de 1852, The Blithedale Romance de Nathaniel Hawthorne, como una crítica a las expectativas del público contemporáneo. La obra confronta las convenciones neoclásicas con los impulsos metatextuales del romanticismo, representados respectivamente por la noción de “novela” (supuestamente realista) y la de “romance” (que puede utilizar lo fantástico para representar la subjetividad humana y el proceso creativo). El artículo recurre también al deconstructivismo para analizar la obra de Hawthorne como una protesta contra el “logocentrismo” de sus contemporáneos

Sobre urnas griegas y pompas de jabón: transformaciones de la ecfrasis en La casa de los siete tejados

El artículo lleva a cabo un doble ejercicio de literatura comparada: por un lado, explora el papel del arte visual en la organización narrativa de La casa de los siete tejados, de Nathaniel Hawthorne; por otro, examina la manera en que Hawthorne “recicla” el uso que hace John Keats de una ecfrasis inestable en “Oda sobre una urna griega” (donde el poeta inglés medita sobre la noción problemática de inmortalidad artística, y sobre el estatus del poeta moderno frente a los antiguos) para plantear una reflexión propiamente norteamericana sobre el oficio del artista en su sociedad y sobre su propia relación con el canon europeo y con el público estadounidense

The Dynamics of Confrontation and Connection in The Scarlet Letter: a Passage to America

The term “passages” applies to The Scarlet Letter in two rather different but closely related ways. On the one hand, the word can be applied to the novel’s overall narrative structure in the sense of a voyage, a one-way progress from one world or from one state of being to another. At the same time, it can also be evoked in the sense of the Parisian passages which intrigued Aragon, as implying a coming and going between separate but connected spaces. The story unfolds according to a linear ch..

Innovative Use of EHR to Support Admission Screening for Emerging Pathogens

CentraCare hospitals were the first in Minnesota to identify a patient with Candida auris (C. auris), an emerging pathogen. 2018 Centers for Disease Control and Prevention (CDC) and state health department recommended adoption of enhanced admission screening process to allow for early identification of patients at risk of being colonized with C. auris/Carbapenem-Resistant Organisms (CROs). C. auris, a fungus, and CROs, comprised of organisms from the Enterobacteriaceae family resistant to carbapenems, are emerging multidrug resistant pathogens. Emphasis on identification and early isolation of at-risk patients decreases risk of transmission.https://digitalcommons.centracare.com/nursing_posters/1128/thumbnail.jp

No Reliable Association between Runs of Homozygosity and Schizophrenia in a Well-Powered Replication Study

It is well known that inbreeding increases the risk of recessive monogenic diseases, but it is less certain whether it contributes to the etiology of complex diseases such as schizophrenia. One way to estimate the effects of inbreeding is to examine the association between disease diagnosis and genome-wide autozygosity estimated using runs of homozygosity (ROH) in genome-wide single nucleotide polymorphism arrays. Using data for schizophrenia from the Psychiatric Genomics Consortium (n = 21,868), Keller et al. (2012) estimated that the odds of developing schizophrenia increased by approximately 17% for every additional percent of the genome that is autozygous (β = 16.1, CI(β) = [6.93, 25.7], Z = 3.44, p = 0.0006). Here we describe replication results from 22 independent schizophrenia case-control datasets from the Psychiatric Genomics Consortium (n = 39,830). Using the same ROH calling thresholds and procedures as Keller et al. (2012), we were unable to replicate the significant association between ROH burden and schizophrenia in the independent PGC phase II data, although the effect was in the predicted direction, and the combined (original + replication) dataset yielded an attenuated but significant relationship between Froh and schizophrenia (β = 4.86,CI(β) = [0.90,8.83],Z = 2.40,p = 0.02). Since Keller et al. (2012), several studies reported inconsistent association of ROH burden with complex traits, particularly in case-control data. These conflicting results might suggest that the effects of autozygosity are confounded by various factors, such as socioeconomic status, education, urbanicity, and religiosity, which may be associated with both real inbreeding and the outcome measures of interest