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

The taxonomic position of Myoxanthus Poepp. & Endl. (Orchidaceae: Pleurothallidinae) i s d i s c u s s e d a n d Silenia L u e r i s m a i n t a i n e d a s a s u b g e n u s o f M y o x a n t h u s. A n e w s p e c i e s o f Myoxanthus is described and illustrated. Myoxanthus vittatus Pupulin & M.A. Blanco is apparently endemic to the low, tropical wet forests of central Pacific Costa Rica, where it has been collected in two different places. It differs from closely related species for the small size of the plant, the whitish flowers, longitudinally striped with purple, the densely pubescent ovary, and the ligulate, obtuse lip. The new combination Myoxanthus tomentosus (Luer) Pupulin & M.A. Blanco is proposed. 

Se describe Stellilabium erratum, una especie de Tapantí y el valle del Río Pejibaye, de planta y flores relativamente grandes para el género. La columna y el labelo son trilobados y los lóbulos laterales de la columna llevan setas conspicuas. 

The monotypic Vietnamese genus Christensonia Haager is discussed and illustrated by a detailed line drawing. A warm-growing, lowland plant, C. vietnamica is an exciting addition to the tropical horticulture as well as a taxonomic bridge between the genera Aerides, Rhynchostylis, and Vanda. 

After ten years of working on the documentary genre, director Alain Resnais is asked to work on a production which deals with the cruelty of war and the deadly effects of the atomic bomb in Hiroshima. But he changes the project and decides to make a film. He, therefore, chooses Marguerite Duras, screenplay writer and filmmaker. The result is the famous film Hiroshima mon amour (1959), which constitutes her debut. According to Marguerite, the main purpose of the film was to stop describing the “horror for its own sake”. To do so, the film describes a love story out of the ordinary: the leading lady will remember her first love and its tragic ending. The writer highlights the experience of not dying of love, showing in detail a path that goes from shadows to light and links reflections on Hiroshima (death) to love (life). The title of this work highlights the surviving love and its content relates Marguerite’s creation, especially that love story, to some of the concepts that we work in psychoanalysis, such as: the “petit a” object, and love and mourning, the latter being a necessary element “not to die of love”.

A movie is considered to pass the Bechdel-Wallace if it satisfy three conditions: 1) there are at least two women characters that 2) talk to each other at some point 3) about something that is not related to a men. It is believed that about 40% of movies fail to pass the test. In spite of the great potential of this tool to make visible the gender inequality in cinema, since its introduction in 1995, an automatic version of it is still to be developed. That was the purpose of this work. The developed test enabled us, through the analysis of movie scripts obtained from the site imdb.com, obtain evidence that the number of movies that pass the test is even lower than previous estimations. Also, this program allows to analyse large sets of scripts as a function of the cinematographic genre.

History shows us how the dispute over sovereignty over any given region may trigger the bloodiest wars based on mistrust from creating a particularly negative image about the “Other”. This situation existing between Argentina and Chile disrepute with regard to border issues is, from the late nineteenth century, war moments of tension and relaxation. In this case, it will work specifically with the film: My Best Enemy directed by Alex Bowen and released in June 2005. In this award-winning film co Spanish Chile-Argentina-production critical direct conflict took on a war footing is made Argentina and Chile over the Beagle Channel and the islands Lennox and Nueva Picton. More precisely, the story takes place in December 1978, at which time the outbreak of hostilities seemed imminent and irreversible and where two opposing positions appear clearly: peace or war where it intervenes a key concept : the border.

In the film by László Nemes, Son of Saul (2015), the main character finds a dying child who has survived the gas chamber at Auschwitz-Birkenau camp, whom a SS doctor suffocates with his own hands. The scene of this murder confronts Saul (Géza Röhrig) within his limits as a living being; then he decides with determination that this body will not be added to the machinery of death which is the death camp and desperately looks for a rabbi to bury him. This article analyzes the enigmatic obstinacy of this character in relation to the limits of human life that Nazism put on the line Nazism, and to the visual boundaries of horror representation that the film presents. Because precisely, in the radical meeting point between the edge of the images and the edge of death, a space to imagine human life, despite everything, it’s opened up.

Lacan sustains that we are always responsible for our position as subjects. Otherwise, that act produces a new subject. A criminal act also produces a new subject. After a criminal act, the question is what position will asume the subject that has been produced by that act. Produced as a criminal. Atom Egoyan´s Remember confronts us with that problem. The film is about justice and responsability, the problem of the memory for unforgivable acts, and the decisions about criminal past.