Movimiento e inmovilidad : Heráclito y Zenón en Monterroso

En este artículo se analizan las influencias clásicas en la obra del filósofo, recientemente fallecido, A. Monterroso (1921-2003), centrándose en la dicotomía de movimiento e inmovilidad.________________________________ This article presents an analysis of classical influences in the work of the recently deceased philosopher, A. Monterroso (1921 -2003), focusing on the dichotomy between movement and immobility

Intratumoral chemotherapy in an integumentary squamous cell carcinoma in a cockatiel (Nymphicus hollandicus)

An eight-year-old, female cockatiel (Nymphicus hollandicus) was presented with anorexia, lethargy, a mass at the lower side of the wing and discoloration of the feathers. Physical examination showed an ulcerated nodular integumentary lesion of approximately 4 cm(3) ventromedial on the wing at the side of the propatagium and the humerus. Lateral and ventrodorsal radiographs revealed only hepatomegaly. After a stabilization period, surgical excision of the tumor was performed. Based on histopathological evaluation and bacterial culture of the surgically removed tissue, the lesion was typed as an integumentary squamous cell carcinoma with secondary bacterial infection (Corynebacterium sp). Four weeks postoperative, the tumor had recurred. Chemotherapeutic treatment was started with intratumoral carboplatin (1.5 mg/cm(3)) once a week. Because of further tumor growth after the second administration of carboplatin, resection of the mass was performed before the next infiltration. However, the bird died during anesthesia. Despite increase in tumor size, histopathological and immunohistochemical evaluations showed degeneration of the tumor with intercellular edema and vacuolization of the tumor cells, presumably resulting from carboplatin administration. More research is needed to investigate the efficacy and safety of the intratumoral administration of carboplatin as a treatment option in birds with integumentary squamous cell carcinoma

Monterroso and Translation: A Translator-creator in Search of a Poetics of Translation

Este artículo analiza las principales ideas de Augusto Monterroso sobre la traducción tal como las ha expresado en ensayos, entrevistas, fragmentos de diario y obras de ficción. Al igual que Borges, Monterroso parece situar la traducción literaria en un nivel más alto que la obra original. Organizamos los comentarios dispersos según el idioma fuente y también examinamos sus comentarios sobre traducciones del español a otros idiomas. Monterroso se manifiesta como precursor en los estudios de la traducción por la profundidad de sus reflexiones por más contradictorias que sean. Desarrolla diversos tópicos conocidos: los conceptos de originalidad y de fidelidad, lo intraducible, el lugar del traductor, la falta de traducciones de obras importantes, la historia de las traducciones y las traducciones erróneas. Monterroso señala los «peligros» del oficio del traductor, pero con humor e ironía percibe la traducción como un juego que le permite hacer asociaciones inesperadas entre diversos textos literarios.This article analyses Augusto Monterroso's main ideas on translation as expressed in essays, interviews, diary fragments and works of fiction. Like Borges, Monterroso seems to place literary translation on a higher level than the original work. We organize all these comments according to the source language and also examine his comments on translations from Spanish into other languages. Monterroso seems to have been ahead of his time regarding translation studies because of the depth of his reflections however contradictory they may be. He develops several well-known topics: the ambiguous concepts of originality and fidelity, the untranslatable, the place of the translator in the publishing world, the lack of translations of important works, the history of translations and translation errors. Monterroso refers to the “dangers” of the translator’s profession, but with humour and irony, he perceives translation as a game which allows him to make unexpected associations between multiple literary texts

Miradas fragmentarias : la écfrasis en dos cuentos de Laia Jufresa

En este artículo se analizan dos cuentos del libro El esquinista (2014) de la autora mexicana Laia Jufresa, a partir de sus marcos textuales ecfrásticos: “Cristina” y “La noche que desapareció Holanda”. El primer cuento se centra en El mundo de Cristina del pintor norteamericano Andrew Wyeth. El segundo contiene varias referencias a dos obras de Johannes Vermeer: Mujer con balanza y Mujer con laúd. En ambos textos Jufresa crea un espacio interartístico donde la literatura y la pintura se encuentran y se cuestionan mutuamente. Son cuentos experimentales en los que la narradora subvierte la mirada, tanto la mirada con la que observa una pintura, como la mirada interior, que observa las reflexiones más íntimas de los personajes. La manera como Jufresa aborda los temas universales pone al lector en un espacio incómodo, pero al mismo tiempo la autora lo incita a participar en el juego de lo visible y lo invisible.This article analyses two stories from the book El esquinista (2014) by Mexican author Laia Jufresa, based on their ecphrastic textual frameworks: “Cristina” and “La noche que desapareció Holanda”. The first story focuses on the work Christina’s World by the American painter Andrew Wyeth. The second contains several references to the works by Johannes Vermeer: Woman Holding a Balance and Young Woman with a Lute. In both texts Jufresa creates an inter-artistic space where literature and painting meet and interfere. In these experimental stories the narrator changes the perspective, both the perspective with which she observes a painting and the inner perspective, which observes the most intimate reflections of the characters. Jufresa’s approach to universal themes puts the reader in an uncomfortable space, but at the same time she encourages him or her to participate in the game of the visible and the invisible

Female literary Maps in Margo Glantz: a stylistic and thematic Analysis of Yo también me acuerdo (2014)

El presente trabajo sobre Yo también me acuerdo (2014) de Margo Glantz se divide en dos partes. Puesto que se trata de una autobiografía experimental, con una estructura poco común, nos centraremos primero en los aspectos formales y estilísticos del texto. Glantz empieza cada párrafo con la frase «Me acuerdo», siguiendo el modelo de Je me souviens (1978), de Georges Perec, y I remember (1970), de Joe Brainard. Esta estructura particular crea un collage de recuerdos sin orden cronológico ni temático. Además de los saltos espacio-temporales, llama la atención la constante mezcla de lo anecdótico y lo intelectual. Analizaremos las diferentes estrategias estilísticas utilizadas para la construcción de la identidad del yo autobiográfico. Por un lado se puede interpretar como un ejercicio inconsciente de asociaciones libres; por otro lado se revela un trabajo muy consciente de recuperación de hechos olvidados del pasado, en frases cortas, lo que ha llevado a la crítica a llamar esta literatura de Margo Glantz «tuiteratura» (Ballester Pardo, 2018). En este ejercicio de la memoria, el colibrí aparece como una imagen fundamental: por aparecer y desaparecer al instante, el pájaro se convierte, a lo largo del texto, en metáfora para la memoria que va y viene. La segunda parte del artículo consta de un análisis del mapa literario femenino de Glantz, quien a menudo se ha autodefinido como feminista. No sorprende que también en este libro el tema de la mujer sea fundamental y que la autora se exprese sobre injusticias hechas a mujeres. Se percibe una clara conciencia de que su obra está muy definida por el hecho de ser mujer (Moi, 2008, p. 261), por lo que averiguamos cómo la autora escribe como mujer y cómo escribe el cuerpo (Potok, 2009, p. 211). Dividimos el análisis de la representación de las mujeres en tres grupos: escritoras, actrices y mujeres ficticias. En el primer grupo estudiamos las referencias a Sor Juana, Simone de Beauvoir y Hannah Arendt; en el segundo grupo seleccionamos a Greta Garbo y María Félix; y entre las mujeres ficticias, enfocamos a Madame Bovary y Susana San Juan. El análisis revelará cómo las redes intertextuales establecidas por la autora crean, a su vez, nuevas redes transnacionales. Glantz construye su identidad como autora mexicana de origen judío, apasionada tanto por Sor Juana como por las intelectuales y las actrices de cine de otros países y otras épocas. El mapa literario femenino, que constituye una polifonía de voces y puntos de vista, revela una gran sensibilidad ante los problemas actuales del mundo, y una clara propuesta feminista de libertad y de justicia.This paper on Margo Glantz’s Yo también me acuerdo (2014) is divided into two parts. Since it is an experimental autobiography, with an unusual structure, we will focus first on the formal and stylistic aspects of the text. Glantz begins each paragraph with the sentence «I remember», following the model of Georges Perec’s Je me souviens (1978) and Joe Brainard’s I remember (1970). This particular structure creates a collage of memories in no chronological or thematic order. In addition to the spatio-temporal jumps, the constant blending of the anecdotal and the intellectual is striking. We will analyse the different stylistic strategies used to construct the identity of the autobiographical self. On the one hand, the text can be interpreted as an unconscious exercise of free associations; on the other hand, it reveals a very conscious work of recovery of forgotten facts from the past, in short sentences, which has led critics to call this literature by Margo Glantz «tuiteratura» (Ballester Pardo, 2018). In this exercise of memory, the hummingbird appears as a fundamental image: by appearing and disappearing instantly, the bird becomes, throughout the text, a metaphor for the memory that comes and goes. The second part of the article consists of an analysis of the feminine literary map of Glantz, who has often described herself as a feminist. It is not surprising that in this book, too, the theme of women is central and that the author speaks out about injustices done to women. There is a clear awareness that her work is very much defined by the fact that she is a woman (Moi, 2008, p. 261), so it is worth looking at how the author writes as a woman and writes the body (Potok, 2009, p. 211). We divided the analysis of the representation of women into three groups: women writers, actresses and fictional women. In the first group we study references to Sor Juana, Simone de Beauvoir and Hannah Arendt; in the second group we select Greta Garbo and María Félix; and among the fictional women, we focus on Madame Bovary and Susana San Juan. The analysis will reveal how the intertextual networks established by the author create new transnational networks. Glantz constructs her identity as a Mexican author of Jewish origin, who is as passionate about Sor Juana as she is about intellectuals and film actresses from other countries and other eras. The female literary map, which constitutes a polyphony of voices and points of view, reveals a great sensitivity to the world’s current problems, and a clear feminist proposal for freedom and justice

LA REINVENCIÓN DEL IDIOMA: MULTILINGÜISMO E INTERCULTURALIDAD EN SANDRA CISNEROS

This article focuses on multilingualism in the works of Chicana author Sandra Cisneros and therefore examines the different levels at which Spanish appears in The House on Mango Street (1984), Woman Hollering Creek (1991), and Caramelo or Puro Cuento (2002). We then see an important evolution: in the first work Spanish is almost absent, while in the last novel, Spanish is much more visible. Caramelo is characterized by code-switching and a great variety of strategies of selftranslation. This linguistic evolution reflects the difficult identity construction in the works of an author who lives between two cultures.Este artículo enfoca el multilingüismo en la narrativa de la autora chicana Sandra Cisneros. Se analiza de qué manera el español aparece en The House on Mango Street (1984), Woman Hollering Creek (1991) y Caramelo or Puro Cuento (2002). Hay una evolución importante que va de una casi ausencia del español en la primera obra a una presencia mucho más destacada en la última. Caramelo se distingue por los múltiples cambios de código y una gran variedad de estrategias de autotraducción. Esta evolución lingüística refleja la difícil construcción de identidad en una autora que escribe entre dos culturas

Imagen, historia e identidad en La calavera de cristal de Juan Villoro y BEF

La calavera de cristal (2011), written by Juan Villoro and illustrated by Bernardo Fernández (BEF), is analyzed from three complementary perspectives. First, the relationship between word and image is focused on from some studies on graphic novels. Second, the tension between history and fiction is examined with an emphasis on pre-Columbian cultures. In the third part, the concept of identity is studied at both the national and individual levels. It is concluded that the book deals with the search for identity of a teenager whose father died when he was very young, but humor and self-criticism seem to soften and nuance these painful experiences. The crystal skull immerses the reader in the world of the Mayans and Aztecs thanks to the creativity of an author and illustrator motivated by the constant recreation of history.Se analiza La calavera de cristal (2011), escrita por Juan Villoro e ilustrada por Bernardo Fernández (BEF), desde tres perspectivas complementarias. Primero, se enfoca la relación entre palabra e imagen a partir de algunos estudios sobre novela gráfica. En segundo lugar, se examina la tensión entre historia y ficción con énfasis en las culturas precolombinas. En la tercera parte se estudia el concepto de identidad tanto a nivel nacional como individual. Se concluye que el libro trata de la búsqueda de identidad de un adolescente cuyo padre falleció cuando era muy joven, pero el humor y la autocrítica parecen suavizar y matizar estas experiencias dolorosas. La calavera de cristal sumerge al lector en el mundo de los mayas y los aztecas gracias a la creatividad de un autor y un ilustrador motivados por la constante recreación de la historia

Remnants of Initial Anisotropic High Energy Density Domains in Nucleus-Nucleus Collisions

Anisotropic high energy density domains may be formed at early stages of ultrarelativistic heavy ion collisions, e.g. due to phase transition dynamics or non-equilibrium phenomena like (mini-)jets. Here we investigate hadronic observables resulting from an initially created anisotropic high energy density domain. Based on our studies using a transport model we find that the initial anisotropies are reflected in the freeze-out multiplicity distribution of both pions and kaons due to secondary hadronic rescattering. The anisotropy appears to be stronger for particles at high transverse momenta. The overall kaon multiplicity increases with large fluctuations of local energy densities, while no change has been found in the pion multiplicity.Comment: Submitted to PR

Protocol for a pilot randomised controlled clinical trial to compare the effectiveness of a graduated three layer straight tubular bandaging system when compared to a standard short stretch compression bandaging system in the management of people with venous ulceration: 3VSS2008

<p>Abstract</p> <p>Background</p> <p>The incidence of venous ulceration is rising with the increasing age of the general population. Venous ulceration represents the most prevalent form of difficult to heal wounds and these problematic wounds require a significant amount of health care resources for treatment. Based on current knowledge multi-layer high compression system is described as the gold standard for treating venous ulcers. However, to date, despite our advances in venous ulcer therapy, no convincing low cost compression therapy studies have been conducted and there are no clear differences in the effectiveness of different types of high compression.</p> <p>Methods/Design</p> <p>The trial is designed as a pilot multicentre open label parallel group randomised trial. Male and female participants aged greater than 18 years with a venous ulcer confirmed by clinical assessment will be randomised to either the intervention compression bandage which consists of graduated lengths of 3 layers of elastic tubular compression bandage or to the short stretch inelastic compression bandage (control). The primary objective is to assess the percentage wound reduction from baseline compared to week 12 following randomisation. Randomisation will be allocated via a web based central independent randomisation service (nQuery v7) and stratified by study centre and wound size ≤ 10 cm²or >10 cm². Neither participants nor study staff will be blinded to treatment. Outcome assessments will be undertaken by an assessor who is blinded to the randomisation process.</p> <p>Discussion</p> <p>The aim of this study is to evaluate the efficacy and safety of two compression bandages; graduated three layer straight tubular bandaging (3L) when compared to standard short stretch (SS) compression bandaging in healing venous ulcers in patients with chronic venous ulceration. The trial investigates the differences in clinical outcomes of two currently accepted ways of treating people with venous ulcers. This study will help answer the question whether the 3L compression system or the SS compression system is associated with better outcomes.</p> <p>Trial Registration</p> <p>ACTRN12608000599370</p