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

Introduction: malocclusion is considered one of the most common oral health problems.Objective: to describe the perception of dentists on Angle type II malocclusions.Methods: observational, descriptive, longitudinal and cross-sectional study of dentists in private practice in Santo Domingo, Ecuador during the year 2022. The sample consisted of 9 dentists. A semi-structured survey was used to collect the information, and descriptive statistics were used to study the data.Results: 33,33 % of the dentists reported that the function of orthodontics in the face of malocclusions was to act on oral health and the temporomandibular joint, and 22,23 % reported occlusal stability.  One hundred percent considered malocclusions as a condition with an impact on oral and respiratory health. Seventy-seven percent considered making the diagnosis in childhood between the ages of 6 and 11 years. 100 % reported identifying low self-esteem in their patients and 10 % reported feelings of anger or rage.Conclusions: Angle class II malocclusions constitute an entity that requires intervention to preserve oral and temporomandibular joint health, as well as respiratory physiology. It should be identified from an early age, avoiding both physical and psychological repercussions.

The susceptibility to present and develop dental caries is closely linked to the host genome. The main objective of this research is to identify, categorize and define the genes and their main polymorphisms which through experimental methods have been associated with susceptibility to dental caries. Genes involved in the development of enamel, as well as genes related to the preference for sweet tastes have been associated with susceptibility to dental caries. Among the genes involved in the development of enamel whose polymorphisms have an impact on this susceptibility are AMEL, ENAM, AMBN, MMP TUFT1 and KLK4, and the genes associated with taste whose polymorphisms are associated with TAS1R2 and TAS1R3. In addition, within these genes, polymorphisms have been discovered that act in a protective manner against carious lesions.

Dystopian fiction is a discursive genre made up of cultural products (literary texts, movies, series) aimed at producing a particular type of effects of sense in the model reader: ideally, in consuming them, readers will be capable of conducting a critical evaluation of their socio-political circumstances. Thus, dystopian fiction – which is a fictional discourse – aims at being the source of socio-political change through the intervention in the discursive sphere of the non-fictional. This article approaches the genre of dystopian fiction in literature from a semiotic perspective. Specifically, it focuses on studying the type of imagination and construction of possible worlds that define it. The thesis it presents is that dystopian fiction is characterised by a construction of futures that are plausible, that is, that have an anchorage in reality as it is and are therefore viable,unlike what happens in science fiction. 

The narrative about swimmers in Subacuática, by Melina Pogorelsky; El interior afuera, by María Lobo, and Sodio, by Jorge Consiglio, rethink the relationship between the experience of water and the practice of writing often analyzed in studies on regionalism and other literatures of the natural. The difference is that these aquatic spaces are swimming pools located in an urban environment. If writing occurs in relation to place, space and material; its form and process change along with the spatial conditions and characteristics. The question that guides the analysis of the three swimming novels is about the narrative that the motion in and with the water of the pool produces. On the one hand, what stories the swimmers tell about the material experience of the body in water. On the other, how the bodily intersection between “closed water” and swimmers affects the materiality of writing. In a preliminary way, it can be established that, just as the body in water is the place of a transformation or a passage, writing is modified in search of ways to account for the experience of the fluid. 

The place of Antonio Argerich, author of ¿Inocentes o culpables? (1884), in the emergence of the national novel and in the context of the controversy surrounding naturalism, has been widely studied. His role as a critic, meanwhile, has received less attention. Based on extensive archival work, in this article we recover and analyze a long series of interventions from 1882 to 1886. In addition to reconstructing the conditions of production of the author’s well-known dissertation on naturalism, the article’s main objective is the recovery and study of a letter by Émile Zola to Argerich, from its background and consequences to the complex textual network that emerged from it. In this way, we study the inflections of the key role that Argerich played as a critic, defender, and promoter of naturalism, while we reconsider certain distinctive features of this central debate in the literary criticism of the period.

Starting with the liberal projects of modern nation-state formation, our territory had to be desertified to imagine, build and sustain this process. To challenge these policies and their narratives, it becomes necessary to rewrite new fictions. We begin by examining the figure of the taperas, legacy of the 19th century modernizing project, as a dynamic component of the landscape and, at the same time, as a critical device waiting to be questioned and exhumed as a surviving trace. In this way, the encounter among the poetic traces in the Quiñihual railway station, the vital traces that inhabit the LincoRln desert’s Tapera del desierto and the map that emerges between them, interrupt and destabilize the story imposed in the territory of the province of Buenos Aires.

The first edition of Silvina Ocampo’s 1937 book, Viaje Olvidado, includes several handwritten, unpublished rewritings. Following our hypothesis, rather than corrections that restore meanings and certainties, they constitute a retraction, an intensified “return” to indeterminacy and ambiguity that characterizes the stories in the volume. To demonstrate this, we will analyze the author’s rewriting of four paradigmatic stories: “Cielo de claraboyas”, “La calle Sarandí”, “El retrato mal hecho” and “Los funámbulos”. 

This article analyzes Silvina Pachelo’s illustrated edition of Esteban Echeverría’s El matadero with the aim of exposing how the Buenos Aires painter rewrites one of the foundational works of Argentine literature through a visual code. Taking as a starting point the concept of the illustrator as critic, proposed by Lorraine Janzen, I argue that the illustrations offer a space of visibility to the female subjects who, marginalized in Echeverría's text, point to the endemic state of violence against women in Latin America and that, especially in the last ten years, has been exposed in literature through different aesthetic formalizations. The result is a tense but productive dialogue between word and image that updates, once again, a work that seems to be inexhaustible in its interpretation.

Mothers and daughters and sons, the effect of being a mother and the process of becoming one or not being one are widely recognized narratives in literature, film and culture in general. This article traces the Western feminist agendas regarding the experience of motherhood/maternity in order to arrive at the concept of parenthood, to then enter into a dialogue with the novel Esta herida llena de peces (2021) by Colombian writer Lorena Salazar Masso. In it, two mothers who share the same child travel together by river in the midst of a conflict that overwhelms the inhabitants of the Colombian Pacific region, embracing a permanent state of transit and readjustment as the only way to live. Current studies on liminality will serve as the fabric to find those spaces of the novel that link its characters-they/mothers and the Atrato river with the reformulation of social and cultural forces/values. In short, the article tracks those intersections between the experience of parenthood of both mothers and the river as liminal spaces of unceasing transformation.