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

Introduction: clinical ultrasonography has undergone a significant development in recent years. Its use has spread to most medical specialties and has ceased to be a complementary examination and has been integrated into the clinical approach.Objective: to describe the usefulness of ultrasonography in cerebral- cardiopulmonary resuscitation.Method: a search for information was carried out in the databases PubMed/Medline, Scopus and SciELO, using a combination of terms. Twenty-nine references were chosen.Development: during cerebral-cardiopulmonary arrest, ultrasonography allows differentiation of cardiac rhythm, finding reversible causes of arrest, performing ultrasound-guided procedures during resuscitation, displaying real-time physiological data reflecting dynamic changes in response to medical treatments, and providing prognostic information.  The identification of causes impacts on the management and prognosis, and is also applicable to the evaluation of the quality of chest compressions. There are different protocols, each with its own features. Ultrasound has a positive influence on the return of spontaneous circulation, survival to admission and survival to hospital discharge.Conclusions: the use of ultrasound during cerebral cardiopulmonary resuscitation is based on the diagnosis of these acute cardiorespiratory events, the identification of reversible causes, evaluation of the technique, selection of therapy, guiding cardiorespiratory resuscitation, avoiding a new event and assessing the functional status after resuscitation. The mastery of clinical echocardiography by all health care providers in the event of cardiopulmonary arrest is a necessity.

The article explores the poetics of clipping in a set of texts published in the "Museo" section y Jorge Luis Borges and Adolfo Bioy Casares, in Destiempo (1936-1937) and Los Anales de Buenos Aires (1946-1948) y Jorge Luis Borges and Adolfo Bioy Casares. The manipulation of texts can be linked to modern clipping technology, which responded to the need for brevity, a requirement of the press, as well as literary and editorial procedures implemented in the recovery of texts from the most diverse supports and that enable to think about cutting as rewriting and reinterpretation (Thérenty, 2012; Viu, 2019). Under the name of “Museo”, the published texts are inserted in the semantic field of exhibition and conservation. Regarding the first, it will be analyzed the visuality of the texts. Regarding the second, the strategies of its collection will be studied (Guelfi Campos, 2019). Finally, we will study the new writing modalities that generate fragmentation and synthesis. We hypothesize that these cut poetics diluted the role of the writer as the sole author and implied an intervention on genres.

The books A Map to the Door of No Return. Notes to Belonging (2001) by Trinidadian-Canadian writer Dionne Brand and Lose your Mother. A Journey Along the Atlantic Slave Route (2006) by U.S. American Saidiya Hartmann address the subject of the journey to Africa, in particular to the symbolic space of the "Door of No Return". We argue that these books contribute to the renewal of the travel writing genre by assembling geographical displacement as ways of reshaping genealogical memories of slavery. In these texts, we find female Afrodiasporic subjects transiting contemporary migration movements and the slave trade routes, accompanied in these experiences by the interrogation of silenced family and collective memories. In this itinerary, the books question and subvert the archives on imperial journeys, while generating new cartographies and reconstructing genealogies organized largely around the experiences of racialized women.  

Most of the literature about Revista Moderna (1898-1903) and Revista Moderna de México (1903-1911) assumes that both publications integrate a single editorial project because of its affiliation with the Latin American modernism, particularly with that of the second generation, which presented a more decadent aspect. Although some scholars have noted the differences between the two formats, the petit revue and the North American styled magazine, the truth is that Revista Moderna de México has been reviewed in very similar terms to its predecessor, that is, as a literary, elitist and minority magazine, representative of a group with a specific literary positioning. In this paper, I will examine some of the devices that the editors of Revista Moderna de México used to articulate this transformation not only of format, but also of discursive positioning, mediated by the political and publishing market conditions from that time. This study pretends to draw attention to the set of negotiations and resistance that some agents of the literary field carried out through their professionalization process and their search for an alleged autonomy regarding other recognition figures during the transition from the 19th century to the 20th century.

Looking at the compositional dimension of publications allows us to think about the relationships between literature and periodicals based on what the magazines expose and offer to the view/read and how they do it. Journals can be considered as intermediaries (Chartier) with specific modes of display (Rogers). Within the framework of these definitions, I propose to study the relationships between journals, literature and publishing practices in Samuel Glusberg’s journal Babel, published between 1921 and 1929, trying to pinpoint two distinct moments that corresponded to particular strategies of material organization of the publication that impacted and shaped the very notion of literature within the journal. During the first stage, as Revista de Arte y Crítica (n.° 1 – n.° 12), it articulated what it considered artistic practices through the mediation of a critical word about what it circumscribed within the term art. During the second period, as Revista de Bibliografía (n.° 13 – n.° 29), there was a clear change in the architecture of Babel; this change was linked to a movement of editorial specialization that imbued the journal with the same name, founded in 1922, and brought it closer to the catalogue form. 

Some time ago it was customary to study literature by placing the figures of the author and their literary projects at the center, paying little attention to the collective contexts of publication (unless they were avant-garde magazines), without considering how and where the letters had acquired the material body that requires thinking about them not only in terms of writing but also in terms of their circulation, in terms of readings and appropriations. In recent years, research on literature has increasingly addressed these aspects, providing valuable knowledge to study Latin American literature with perspectives attentive to its materiality and forms of circulation. The dossier Literature, journalism and materiality explores the exhibition strategies, the forms of innovation, the editorial practices and the poetics produced in the intense process of exchanges between the press and literature in Mexico and Argentina during the first half of the 20th century. It shows how the concept of materiality has been expanded, with a variety of significant aspects to think about the periodic forms of production, circulation and consumption of literature. 

From 1921 to 1923, El Tepozteco appeared in Mexico City. A biweekly publication on religion, science, literature, Mexican linguistics and varieties. Organ of the Tepozteca Colony in Mexico (Mexihco, Tepozteca Nechicolli). Nochi ipampa totlacatiliztlal (All for our homeland), under the direction of Nahuatl Mexican language professor and translator Mariano Jacobo Rojas. This article investigates some aspects of this printed periodical such as the characterization of its main audiences, the development of one of its main sections dedicated to the teaching of the Nahuatl language and which are the preamble for the writing of the Manual de la lengua náhuatl. Método práctico para hablar, leer y escribir la lengua americana, by Rojas published in 1927; as well as its financing and circulation strategies in the capital and the states of the Mexican Republic. The discovery of this print at the Library of the National Museum of Anthropology and History will allow an approach to the printed periodicals of enlightened indigenous people who participated in the complex and tense cultural framework that defined the scenario of the formation of the post-revolutionary state and its indigenist debates. 

On the basis of cover art and advertising development at the beginning of the twentieth century, at a key time of periodics publishing History in Argentina (in terms of the offer of growth and diversification), this work analyzes the uses of writer’s portrait in Los Pensadores between 1922 and 1924, the booklet with which Antonio Zamora (1896-1976) launched Claridad publishing house. On one hand, the analysis of this periodics covers, as well as other composition decisions, allows to compare the strategies of both periodical press and cheap book publishers in the 1920 publishing field. On the other hand, different material features such as the choice of images or graphical and editorial decisions lead to give an account of their taking part in the process of author’s figure fixing on the book artefact. By this way, they also give empiricity to author’s function, under media regime and in the context of mass culture.