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

Background: the health workers who manipulate the infectious agents or infected materials must know the possible risks and be experts in their sure manipulation. Objective: to evaluate the observance level of the biosecurity measures for the health personnel in the ambulatory surgical unit. Methods: an observational and descriptive study was carried out with a universe of 15 workers of the ambulatory surgical unit, Celia Sánchez Manduley Teaching Provincial Hospital, Manzanillo, Granma, in the first quarter of 2017. The universe was constituted by 7 medical surgeons, 6 graduated nurses and 2 anesthesiologists. The observation was organized for a guide contented of the different articles for each professional for specialty establishing the points. Results: the biosecurity norms that were completed were always related with the personal aspect, use of surgical clothes, use of protection means, washing of hands and handling of the waste. The use of electronic devices and of jewels was the biosecurity measures that were less respected. The health personnel had a high observance level, since all were positioned in the level three. The observance level that was presented in medical surgeons, anesthetists and nurses was the same one. Conclusions: the health surgical personnel of the ambulatory surgery unit, completes, in its majority, with the biosecurity norms being the use of jewels and electronic teams the less fulfilled measure. DeCS: CONTAINMENT OF BIOHAZARDS; HEALTH PERSONNEL; AMBULATORY SURGICAL PROCEDURES; OPERATING ROOMS/standards; EPIDEMIOLOGY, DESCRIPTIVE.

Background: epilepsy is one of the most frequent neurological diseases and almost 30 % of patients who suffer from it do not get control with classic antiepileptic drugs. Objective: to characterize prescription patterns of new antiepileptic drugs. Methods: a descriptive and cross-section study about use of medicines, of prescription-indication type with elements of therapeutic scheme was conducted. The study universe was composed of 300 patients and all of them were included on the research. The following variables were studied: group of age, associations, indications and interval of administration. Results: use of vigabatrin and lamotrigine prevailed in children and patients with diagnosis of epilepsy. Use of Gabapentin was more frequent in adults and neuropathic pain. Vigabatrin and lamotrigine were mainly used in associations with classical antiepileptic drugs, being valproate the drug more used on it. Gabapentin was only used alone. There were mistakes on intervals of administration of all studied drugs. Conclusions: prescription of new antiepileptic drugs was adequate in most cases. Identified mistakes were related to intervals of administration. DeCS: ANTICONVULSANTS/administration&dosage; MEDICATION ERRORS; PRESCRIPTION DRUGS; EPIDEMIOLOGY, DESCRIPTIVE; EPILEPSY/drug therapy.

In this article we review the work of a series of creative women who have investigated during the twentieth century the reality of their public and private environment by the use of documentary photography as an artistic resource. The path walked by these artists is based on their firm commitment to the historical dimension (certifying that the idea of document is part of the photographic imprint, due to its ontological nature) and the subjective dimension (the one that deals with the opinion of the artist). In the studied works, the fusion of art and documentary provides a powerful association whereby women takes over its environment and of its own image constructing its own vision of reality and generic identity.

In this study we observe two of Dina Goldstein’s most famous photography series: Fallen Princesses and In The Dollhouse. These photographic works show with severity the feminine models which are exposed to children spectators, in particular, the characters created by the Franchise Disney Princesses and the Company Barbie. These Article analyze Goldstein´s work with a qualitative study to observe how a female photographer reinvents female characters created to entertain a female audience. The analysis will focus on the characters of the work. In this way we can compare the works of Goldstein with their specific references —the characters of both franchises—, to find how the artist uses the same tools of the franchises in order to provide a new vision of them.

The idea generation techniques are tools which are aimed at solving problems of various kinds, being considered as instruments that encourage the creative potential of people with the goal of generating many ideas in a short period of time. This paper reviews the main techniques for generating ideas applied in the field of advertising and analyzes the degree of knowledge and usage of them by professionals from Spanish advertising agencies. In order to do this, fifteen techniques were reviewed and twenty-two interviews were made. The vast majority of respondents know several techniques and agree about their usefulness in greater or lesser degree, with brainstorming as the quintessential technique. Although the degree of use is high and diverse, advertising creatives prefer, in many cases, to use their own methods which, however, are related to the most known techniques.

The archetype of the journey has an important role in the imaginary cultural heritage of the United States. Throughout the late 19th and early 20th centuries, American literature would focus much of its arguments on the figurative and metaphorical journeys, like many of the classic Hollywood genres and those genuinely American such as the western. Over the years, in the context of the political, social and cultural crises that the United States would go through during the late sixties, modern horror cinema would appropriate of this archetype to carry out its final subversion. In the following article, we will deepen on the importance of the archetype of the journey within the American cultural imaginary and its subsequent fracture in times of social crisis, through the study of its evolution in the literature and film genres. The use of a multidisciplinary methodology will allow us to approach the subject from a perspective that includes the historical, artistic and social realities.

Juana Biarnés was borned in Terrassa in 1935. She is one of the first woman who worked as a professional photojournalist during the Francoism period. A fact that makes her one of the pioneers of Catalan professional woman photoreporter after the Civil War. Of all her extensive photographic corpus, this paper provides unpublished information on her projects in film productions in Catalonia as a still photographer till her move to Madrid in 1963. A little-known to date work and marks the beginning of a long relationship between Juana Biarnés and the world of cinema

This paper pays attention to the advertising enunciation, understanding it as a discourse that builds an image, among many possible, of the crisis. Taking into account that large companies prefer to appeal to our optimism rather than contribute to a rational debate about our problems, and that from its persuasive nature its objective is not to solve our daily problems or to empower us with critical capacities but to promote consumerism, we carry out a critical analysis of the multimodal and semiotic discourse of advertising, its discursive strategies, as well as its objectives and interests. Focusing on the Spanish case, we will analyse Campofrio´s Despertar campaign (2015) as case study. We will see how the representation of the crisis in the advertisement takes away the importance of the crisis because it does not take into account social and political issues. At the same time it individualizes it, as well as its possible causes, consequences and solutions, supporting and legitimizing the neoliberal ideology present in society. The brand is offered as well as therapist, personal coach and even spiritual guru to overcome a crisis expressed as opportunity.

The present text tries to approach the configuration of an autobiographical story as a collective experience from the photographic and audiovisual praxis. For this, the work of photographer and filmmaker Chantal Akerman is taken as the subject of analysis. Akerman works within the limits of the autobiographical essay, proposing itself as object of analysis. But one object projected towards the other. The object to be dissected is concretized in the photographic series that is part of the video installation Maniac Shadows (2013). It is a multi-channel installation with material recorded in the various places of residence of Akerman and during his trips through several cities and countries; A video in which Akerman reads a fragment of his autobiographical text My Mother Laughs and a collection of 100 photographs.

From the perspective of the photographic self-portrait, a journey through the work of some of the leading women artists of the 20th and 21st centuries who have used the photographic self-portrait as a means of expressing and claiming the self is proposed. The present text aims to be an approach to the current female universe of self-representation characterized by photographic experimentation and its connection with all kinds of means of expression, multidisciplinary approaches and touching all genres of art from painting, performance or videoinstallation. A space of narrative construction in an impulse to vindicate the role of women as women and as artists and which is closely linked to the manifestation of ideas and concepts around identity.