Multiculturalidad en folletines chilenos de filiación “indiana” del siglo XIX

A singular corpus of the Chilean narrative of the nineteenth century develops the topic of prevented love between Spaniards and Mapuche, according to which the happy ending only be possible through the civilization of the indigenous or thanks to their submission to Christian doctrine. For this reason, these are texts nor alien to the debate that is currently present in the theses regarding categories such as multiculturalism, interculturality, cultural plurality, among other approaches and exposes interculturality as “conflictivity” (Fornet-Betancourt, 1998, Dussel, 2005; García Canclini, 2011) according to the hybrid, precarious and inharmonious condition. It is, in fact, a “culturizing” narrative that gives way to paroxysmal outcomes typical of the folletin which at the time were called as typical of an “indian novel” by Zorobabel Rodriguez (1873). Our working hypothesis proposes that these transgressions end up being transferred from the melodramatic imaginary to a historiographical and cultural condition that does not attend to the conflictive but to the hegemonic with respect the conformation of our national identity.

Obrazki porażki [Images of Failure]

Images of FailureOn the one hand, the sphere of art offers the possibility to imagine a different, less oppressive and normative world, where just as in the case of cartoons even the greatest gawks, misfits, and outcasts would build friendships and alliances helping them to reach a happy ending. On the other hand, there is something of an artistic performance, at least of an illusionist show, to an intentional act of failure. To perform failure, one has to improvise, to operate randomly, blunderingly, and ostentatiously, as well as to resist the social norms and rules. The artworks that are presented here pertain to all of these meanings of the “art of failure”.Obrazki porażkiSztuka jest z jednej strony sferą, w której można wyobrazić sobie inny, mniej opresyjny i normatywny świat; w nim – jak w kreskówkach – międzygatunkowe przyjaźnie i sojuszenawet największych gamoni, odmieńców i wyrzutków prowadzą do szczęśliwego zakończenia. Z drugiej strony w intencjonalnym uprawianiu porażki jest coś ze sztuki, a przynajmniejsztuczki prestidigitatora. Performowanie porażki wymaga zdolności improwizacji, podążania po omacku, dyletanctwa, fanfaronady oraz przeciwstawiania się społecznym normom i regułom. Prezentowane tu prace nawiązują do tych sensów „sztuki porażki”.

Unique Case of Spontaneous Left Main Coronary Dissection in Second Trimester of Pregnancy Successfully Treated with Percutaneous Coronary Intervention: A Happy Ending

Among pregnant women, SCAD is the most frequent etiology of non-atherosclerotic acute coronary syndrome. SCAD related to pregnancy is more frequent within the first month (especially first week) of puerperium or last trimester, or is otherwise anecdotal. The concomitance of SCAD and pregnancy poses many issues regarding diagnosis and treatment in respect to maternal and fetal safety and requires tailored intervention with close interaction between clinical cardiologists, interventional cardiologists, cardiothoracic surgeons, and obstetricians. We report the case of a patient, pregnant in the second trimester with a life-threatening SCAD, successfully treated with percutaneous coronary intervention with excellent outcome for mother and baby.

Obrazki porażki [Images of Failure]

Images of FailureOn the one hand, the sphere of art offers the possibility to imagine a different, less oppressive and normative world, where just as in the case of cartoons even the greatest gawks, misfits, and outcasts would build friendships and alliances helping them to reach a happy ending. On the other hand, there is something of an artistic performance, at least of an illusionist show, to an intentional act of failure. To perform failure, one has to improvise, to operate randomly, blunderingly, and ostentatiously, as well as to resist the social norms and rules. The artworks that are presented here pertain to all of these meanings of the “art of failure”. Obrazki porażkiSztuka jest z jednej strony sferą, w której można wyobrazić sobie inny, mniej opresyjny i normatywny świat; w nim – jak w kreskówkach – międzygatunkowe przyjaźnie i sojusze nawet największych gamoni, odmieńców i wyrzutków prowadzą do szczęśliwego zakończenia. Z drugiej strony w intencjonalnym uprawianiu porażki jest coś ze sztuki, a przynajmniej sztuczki prestidigitatora. Performowanie porażki wymaga zdolności improwizacji, podążania po omacku, dyletanctwa, fanfaronady oraz przeciwstawiania się społecznym normom i regułom. Prezentowane tu prace nawiązują do tych sensów „sztuki porażki”.

Mortality Predictors in Severe COVID-19 Patients from an East European Tertiary Center: A Never-Ending Challenge for a No Happy Ending Pandemic

(1) Background: There are limited clinical data in patients from the Eastern European regions hospitalized for a severe form of Coronavirus disease 2019 (COVID-19). This study aims to identify risk factors associated with intra-hospital mortality in patients with COVID-19 severe pneumonia admitted to a tertiary center in Iasi, Romania. (2) Methods: The study is of a unicentric retrospective observational type and includes 150 patients with severe COVID-19 pneumonia divided into two subgroups, survivors and non-survivors. Demographic and clinical parameters, as well as comorbidities, laboratory and imaging investigations upon admission, treatments, and evolution during hospitalization were recorded. First, we sought to identify the risk factors associated with intra-hospital mortality using logistic regression. Secondly, we assessed the correlations between D-Dimer and C-reactive protein and predictors of poor prognosis. (3) Results: The predictors of in-hospital mortality identified in the study are D-dimers >0.5 mg/L (p = 0.002), C-reactive protein >5mg/L (p = 0.001), and heart rate above 100 beats per minute (p = 0.001). The biomarkers were also significantly correlated the need for mechanical ventilation, admission to intensive care unit, or multiple organ dysfunction syndrome. By area under the curve (AUC) analysis, we noticed that both D-Dimer (AUC 0.741) and C-reactive protein (AUC 0.707) exhibit adequate performance in predicting a poor prognosis in patients with severe viral infection. (4) Conclusions: COVID-19′s outcome is significantly influenced by several laboratory and clinical factors. As mortality induced by severe COVID-19 pneumonia is considerable, the identification of risk factors associated with negative outcome coupled with an early therapeutic approach are of paramount importance, as they may significantly improve the outcome and survival rates.

Patricia Highsmith's Queer Disruption: Subverting Gay Tragedy in the 1950s

<p>Published in a time when tragedy was pervasive in gay literature, Patricia Highsmith’s 1952 novel The Price of Salt, published later as Carol, was the first lesbian novel with a happy ending. It was unusual for depicting lesbians as sympathetic, ordinary women, whose sexuality did not consign them to a life of misery. The novel criticises how 1950s American society worked to suppress lesbianism and women’s agency. It also refuses to let that suppression succeed by giving its lesbian couple a future together. My thesis assesses the extent to which the novel broke the conventions of gay literature, and how Highsmith was able to publish such a radical text in the conservative 1950s. The Talented Mr Ripley, a crime novel published in 1955, is more representative of both Highsmith’s work and 1950s homophobia. Tom Ripley is coded as gay through a number of often pejorative stereotypes, though the novel never confirms his sexuality. This makes it appear far more conventional than The Price of Salt. And yet, it treats Tom sympathetically and gives him a happy ending. Underneath the surface level homophobia is a story of gay survival and success, and once again Highsmith subverts the tradition of gay tragedy. However, because homophobic tropes are central to its narrative, it remains difficult to call Ripley a radical text. In placing the two novels side by side, my thesis draws out the complexity of Highsmith’s relationship with the gay canon. I find commonalities in the novels based on Highsmith’s interest in disrupting conventional morality. She achieves this disruption by humanising outsiders such as gays and lesbians, and constructing narratives in which they are able to find the freedom and happiness that the literature of the period usually denied them.</p>

Patricia Highsmith's Queer Disruption: Subverting Gay Tragedy in the 1950s

<p>Published in a time when tragedy was pervasive in gay literature, Patricia Highsmith’s 1952 novel The Price of Salt, published later as Carol, was the first lesbian novel with a happy ending. It was unusual for depicting lesbians as sympathetic, ordinary women, whose sexuality did not consign them to a life of misery. The novel criticises how 1950s American society worked to suppress lesbianism and women’s agency. It also refuses to let that suppression succeed by giving its lesbian couple a future together. My thesis assesses the extent to which the novel broke the conventions of gay literature, and how Highsmith was able to publish such a radical text in the conservative 1950s. The Talented Mr Ripley, a crime novel published in 1955, is more representative of both Highsmith’s work and 1950s homophobia. Tom Ripley is coded as gay through a number of often pejorative stereotypes, though the novel never confirms his sexuality. This makes it appear far more conventional than The Price of Salt. And yet, it treats Tom sympathetically and gives him a happy ending. Underneath the surface level homophobia is a story of gay survival and success, and once again Highsmith subverts the tradition of gay tragedy. However, because homophobic tropes are central to its narrative, it remains difficult to call Ripley a radical text. In placing the two novels side by side, my thesis draws out the complexity of Highsmith’s relationship with the gay canon. I find commonalities in the novels based on Highsmith’s interest in disrupting conventional morality. She achieves this disruption by humanising outsiders such as gays and lesbians, and constructing narratives in which they are able to find the freedom and happiness that the literature of the period usually denied them.</p>