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

The main aim of this note is to investigate the way in which the intertextual dialogue between literature and comics is carried out in the specific case of the graphic novel Los que quedan (2019), by Josep Busquet (Barcelona, 1975) and Alex Xöul (Barcelona, 1984), through a comparative analysis of the characteristic motifs of the open/ alternative worlds (Nikolajeva, 1988, 2012) and the rhetorics of the portal-quest fantasies (Mendlesohn, 2008; Levy and Mendlesohn, 2016) which are approached from a new and unusual perspective for the construction of the work studied. The work shows the recurrent intermediate transfers between artistic products aimed to adults and/or at children and young people, which result in works with similar constructions whose reception system is determined by the displacement of the protagonism of the children in favour of a construction centred on the vision, interests and concerns of the adults.

Although the memory of troubadour poetry only surfaces intermittently in 20th and 21st century Portuguese poets, its persistence gives evidence of an intertextual continuum, leaving no doubt as to the impressive posterity of medieval poetic tradition. The retextualization of the Iberian lyrical genres –particularly that pertaining to the cantiga de amigo–, as illustrated by numerous poetic pastiches and parodies, gives evidence of the rhetorical, ideological and symbolic versatility of a poetic legacy that has never ceased to instigate (re)creation, well beyond its time of composition and circulation. In this article, drawing on the analysis of selected poems by female Portuguese contemporary poets belonging to different generations, we discuss the ways in which, by poetically replying to the medieval cantiga de amigo, they have succeeded in disrupting the “sexual politics” underlying this poetic genre, making it voice contemporary gender trouble.

Neste artigo, procede-se à análise dos romances portugueses de Ilse Losa O Mundo em Que Vivi, editado, em 2019, pela Hércules de Ediciones, em galego e em castelhano, e Rio sem Ponte, a ser brevemente publicado nos dois idiomas pela mesma editora, do ponto de vista do diálogo entre literatura e História. Estes romances tematizam questões relacionadas com o exílio e o Holocausto, tendo sido preocupação da Autora não deixar esquecer o passado histórico, apelando ao questionamento da História e à equidade no julgamento desses mesmos factos históricos.

Background: dengue is an infectious disease widespread in several regions of the planet. Objective: to characterize the behavior of some clinical and laboratory parameters of patients with suspected dengue. Methods: a prospective longitudinal analytical study was carried out at the Amalia Simoni Teaching Surgical Clinical Hospital in the period from June 2016 to June 2017. The universe consisted of 151 patients from which a sample of simple probabilistic form composed of 90 patients was selected randomly. The data was collected in a form and processed in a database created with SPSS v23. Results: the results grouped in the form of tables, showed predominance of male patients, the most frequent initial symptoms were due to fever associated with headache and arthralgia. Conclusions: among the most frequent initial symptoms, patients with no signs of dengue alarm predominated, the appearance of these signs was significantly associated with leukocytosis, elevated hematocrit and thrombocytopenia. DeCS: DENGUE/epidemiology; DENGUE/etiology; SIGNS AND SYMPTOMS; MANDATORY TESTING; CLINICAL LABORATORY TECHNIQUES.

Background: the increase in the number of cases with laryngeal-tracheal stenosis is a concern in the present and future of medical practice. Objective: to characterize laryngeal-tracheal stenosis. Methods: a retrospective longitudinal analytical study was carried out, with the objective of characterizing the laryngeal-tracheal stenosis at the Octavio de la Concepcióny de la Pedraja Teaching and Surgical Clinical Military Hospital of Camagüey from January 2014 to January 2019.The universe was composed by 12 patients diagnosed with laryngeal-tracheal stenosis. Results: in the study the average age was 40.6 years, in terms of gender there was equality for both, the main cause of laryngeal-tracheal stenosis was post-intubation, the location of the most frequent stenosis was subglottic. The severity of the stenosis was proportional to the days of permanence of artificial ventilation. The majority of patients presented grade III stenosis according to Cotton's classification. Conclusions: laryngeal-tracheal stenosis is a complication whose most frequent causes are avoidable. External trauma and most often endogenous trauma by intubation are the most frequent and can be eludedmostly. The epidemiology exerts little influence on the appearance of stenosis, the length of time of the tube, was a factor associated with the greater number of patients. DeCS: TRACHEAL STENOSIS/complications; TRACHEAL STENOSIS/diagnosis; TRACHEAL STENOSIS/epidemiology; LARYNGOSTENOSIS/complications; INTUBATION, INTRATRACHEAL/adverse effects.

At the end of the 18th century, the enlightened bishop, the Right Reverend Antonio Caballero y Góngora founded the School of Fine Arts in Córdoba, which was directed by the academic painter Francisco Agustín Grande. This article highlights the support that the painter received from the prelate, interested in the dissemination of academic taste. The painting La Piedad from the sacramental chapel of the parish of San Miguel is proof of this.

In postapartheid South Africa a generation of black women are contributing with their artistic work to the critical reflection on the strategies of differentiation and absortion of the otherness linked to colonialism. Their task of political denunciation overcomes the conventional ways of ethnographic exhibition of native women and the shortcomings of the art inspired by mainstream feminism in that country. This article analyses how those artists symbolise and condemn the mechanisms of colonialist power and representation, thus recovering the memory of a historic relationship of subjugation. A selection of artworks illustrates how otherness construction and fixation strategies such as stereotype and mimicry are confronted from the intermediate space in which a new hybrid discourse arises. This critical review of the colonial history extends into present-day South African society, where prejudice and situations of exclusion derived from the recent discriminatory past still persist.