Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Introduction. There is little information about stereotypic behaviors in stock-type sport horses and paso horses in Costa Rica. The lack of knowledge regarding stereotypic behaviors, such as cribbing, weaving, and stall walking in horses, affects their welfare. Objective. The objective of this study was to monitor the status of stereotypic behaviors and the management reported by owners of horses registered in ACRICAMDE and ASCACOPA in Costa Rica. Materials and methods. A cross-sectional survey was conducted from June through September 2018 in Costa Rica to gather information on horse behavior and current management practices of 552 horses of the breeds Quarter Mille, Appaloosa, American Paint Horses and Costa Rica Paso. The database collected was analyzed using descriptive statistics. Results. Almost half of the horse owners (48.4 %) reported stereotypic behaviors, being cribbing the most observed (86.2 %), followed by stall walking (24.1 %) and weaving (13.8 %). Most owners and managers (89.7 %) have tried to stop horses from performing stereotypic behaviors with anti-cribbing collars and by increasing social contact with other horses as the most common approaches. Fewer hours of grazing were reported (2 or less, or none) while there were horses without access to pasture (35.7 %). Conclusion. Horse owners of the breeds included in this study lacked knowledge of stereotypic behaviors. In order to improve management of these behaviors, more training is required to avoid further complexities under the current conditions.

Introduction. The rupture of the Ischaemum rugosum Salisb. latency is a critical aspect of its physiology, so its knowledge is indispensable to establish accurate measurements regarding its management. Objective. Determine if storage temperature and scarification influence the germination of I. rugosumunder controlled conditions. Materials and methods. The work was carried out in October 2015 at the Fabio Baudrit Moreno Experimental Station and the Official Seed Quality Analysis Laboratory, both at the Universidad de Costa Rica. The effect of scarification (seeds with glumes and seeds without glumes), the seed storage temperature (refrigerated at 5 °C and environment temperature 23.9 °C), and the germination chamber temperature (27 °C and 30 °C) were evaluated. Germinated seeds were counted for each treatment. Results. Double interactions were significant. Seed stored at room temperature had the advantage of higher germination than non-scarified seed (2.35 to 1), and in this type of seed occurs equally in the two temperatures of the germination chamber. In relation to the seed stored in refrigeration, scarified seed had an advantage of germinating at 11.9 to 1 over the non-scarified seed. In the case of germination temperature, 27 °C had an advantage of 11.3 to 1 over 30 °C. Conclusion. The storage and germination temperature had an influence on the scarified and non-scarified seed’s germination.

The present text seeks to highlight the intertextual connections that exist between the myth of Antigone and other relations—audiovisual, photographic and theatrical—in order to unravel the vital power of its protagonists. The legacy of the Antigone archetype is present in hypertexts as a disobedient force towards official mandates, a female figure who resists injustice and the patriarchal order imposed by the laws of the city of Thebes. The documentary Nostalgia de la luz by the Chilean Patricio Guzmán, the Uruguayan theater play Antígona Oriental by Volker Lösch and Marianella Morena and the Siluetazo (silhouette drawings on the ground) made by the Mothers of Plaza de Mayo in the company of three visual artists will be the works that will allow us to get closer to the Antigone figure from the testimonies of the women who lost their brothers, parents and children—descendants of Polinices—in the framework of the dictatorships of the seventies in the Southern Cone. 

This work analyzes the “adaptation” of the film El húsar de la muerte of Pedro Sienna made by La Patogallina collective. It explores the link between both pieces from the transposition viewpoint, the relationship between the silent cinematographic language and the theatrical one, and the political aftermaths of the theater piece. For such reasons, it notes the success achieved by the movie, the popularity of the character Manuel Rodriguez, the characteristics of the play and the narrative and aesthetics operations of the transposition. With this, La Patogallina would build a piece that celebrates both the silent cinema code from the theatrical language and the figure of Manuel Rodriguez, updating its political meaning and that of its fight in contemporary Chile.  

The investigation states that the landscape was repetitive in the visual testimonies of the Chilean military dictatorship. By landscape it comprises a visual, political and cultural construction, which gives space-reference density to the memory accounts. In this context, we distinguish a struggle of meanings: first, authoritarianism instrumented the landscape to convey the subterranean values ​​and promoted the legitimacy of the regime. At the same time, the resistance generated denotative landscapes, in an accusatory-testimony key, which materialized in endless means. Specifically, a corpus composed of arpilleras and drawings in prison will be examined. Beyond its specificities, we propose that one of the main functions that brings together both sets is its use as a device of evidence and denunciation. Thus, we will try to recompose part of the dissident landscape by weaving together certain images that account for the spatial substrate of the events. 

In Chile, “set the body to work” is a popular expression that highlights the materiality of the effort invested in any economic activity. It is also a metaphor that leads us to reflect on the “absence of body” in recent narrative since accounts that articulate narrators’ voices and experiences of physical or manual trade are scarce. This article addresses an exception, the novel Panaderos (Bakers), by Nicolás Meneses (2018), that presents the everyday life of a working family in detail: the mother (a seasonal agricultural worker), the father (a baker), and the foray of the family’s eldest son, the narrator, in a supermarket’s bakery. Their lives revolve around activities that require manual skills and specialized training. On one end, their trade connects them to risk and physical accidents. On the other, they are under entrepreneurial logics devoid of empathy or justice, a system condemned by the recent Chilean social uprising.

This essay unravels how and if literature responds to the political awakening in Chile. In other words, what does it mean to be woke with language? The response is a deep reflection of how literatures have a fundamental role in writing the blueprints of the future and giving shape to communities that are waiting (for justice and to be constituted). In the revolt, these communities emerged from the underground of the neoliberal order, enabling the simultaneous enactment of goce and sacrificio. The proposal is that the literary language that is not a potentiality, but a potentia, a language that enacts the present of the collective to give a name to the emancipatory spaces that exist in the shadows of the State and the market. Using critical methodologies from cultural studies, theories of the other utopianism and calibrations of the desiring power of poetic language, neoliberal literature and its extractivist practices are criticized to propose other aesthetic methodologies that open spaces for breathing with the other. 

In this essay I propose an aesthetic and political reading of the recent Chilean fiction narrative, aiming at tracing the different ways in which this narrative reaches the reader and what it does in such encounters. My general postulate proposes that in this narrative it is possible to trace a work of appealing to the reader so as to enable for the violence to emerge as a critical tool to interpret our reality. I analyze works from post-dictatorship to the present day to delimit certain discursive lines that fracture the normality imposed by the transitional regimes, and bring readers closer to the abyss of the crisis and to the different paths where violence runs through in our daily lives. How much of the crisis we are experiencing was already recorded in the recent narrative? How did this inscription evolve? What nuances can we distinguish?