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

In the present study we describe and characterize the geographic distribution of HTLV-1 and 2 positive cases from Peruvian patients with presumptive diagnosis 2019 - 2021. Of a total of 555 confirmed positive samples, 546 (98.4%) were HTLV-1 and 9 (1.6%) HTLV-2. In addition, 22 of 24 departments of Peru presented cases of HTLV-1. The main reasons for requesting a confirmatory diagnosis being: aspiring to donate blood with a reactive screening test, suspicion of leukemia/ lymphoma and tropical spastic paraparesis. The results reflect that the identification of critical points constitutes a persistent gap regarding the diagnosis, being crucial to reduce the number of new cases in Peru.

Los antimicrobianos parenterales son esenciales en el tratamiento de infecciones intrahospitalarias, sin embargo, es importante considerar la carga de sodio y volumen que pueden aportar, especialmente, en pacientes con restricción sódica.  En el presente estudio se identificaron los antimicrobianos parenterales usados en uno de los hospitales más grandes del Perú.  Se revisó la cantidad de sodio intrínseco y se calculó la cantidad de sodio total por día de tratamiento según el régimen frecuentemente usado en adultos. Como resultado, se encontró que 22% de las terapias antimicrobianas superaban el requerimiento de sodio diario, lo que podría ser perjudicial para pacientes con insuficiencia cardiaca, enfermedad renal crónica, con cirrosis hepática, entre otros.

no aplica

I study three areas of visual culture linked to drugs and their relations with the HispanicAmerican fin-de-siècle (nineteenth and twentieth centuries) literature: the visibility of drug objects in painting and some literary practices of decadentism; the way in which certain performativity is constituted in the modernist scenarios of consumption, an artistic iconography of drunkenness and the processes of subjectivation associated with the image of a relaxed, meditative or exasperated body; and the examination of drug images in advertising that appear in the magazines of the time and their critical connections with a literary narrative where the ethnographic journey (within the city or in the geopolitical boundaries of the nation) and the exploration of the limits of sensibility are intertwined. I consider it useful to discuss a certain idea of a crossing or border -cultural, geographical, social, sensorial- from the images of painting and advertising, and how these draw thresholds of perception from which diverse sensitive experiences are produced. Similarly, I think it is important to rethink these different aspects of visual culture related to drug use in order to reposition images and texts in a dynamic cultural and sensorial frontier, and thus try to shake up the maps of modernist consumption.

This article proposes a critical reading of a corpus of three films and three novels from Chile (1980-1990). This reading inquires into the possibilities of both disciplines to imagine the future in times of crisis, hope, and despair, setting topics around exile, memory, the city, and confinement. It is thus the aim of this article to understand the period studied, the emerging neoliberal Chile of the second part of the military dictatorship, regarding temporal (past, present, and future) and spatial crossroads that may allow us to figure out a manner to depict images.

The bourgeois dress of the late nineteenth century is the materialization of a moment of high normativity in the codes of civility in the Americas. This materiality, recorded in photographic and textual archives such as family portraits, albums, magazines, advertisements, gives an account of it. The dress of bourgeois women can be examined as a technology of control for the construction and representation of the category “woman”, hinge of the nation; and it shows at the same time the class hierarchization within gender in relation to indigenous and Afro-descendant women. Clothing is also an investiture insofar as it socially situates, morally regulates, and gives an account of belonging and of a set of privileges and restrictions. Thus, this work interrogates a collection of things: the dresses and, within this vast field, those that cover the bodies of the women of the Quito bourgeoisie between 1870 and 1900, in contrast with other representations of the sign “woman”, in order to see how this sign functions in the organization of the nineteenth-century nation.

By means of the seven fragments of this text, a critical reading is carried out of the account present in the Presencia de América Latina (1965) mural displayed in Universidad de Concepción’s Casa del Arte. This proposal develops from the importance that the visual turn has acquired nowadays in the discussion about criticism and literary theory (Rodríguez Freire), to focus the discussion on the extractive Latin Americanism which is observed in the mural representation related to its visions of the body (of work and gender), official (ized) history, (excavated) geography and extractive economy, among others. In brief, this text aims to show the exhaustion of the epic Latin Americanism and its analogue in the developmental visual regime (Castillo).

This article focuses on Penelope, usually presented as an exemplary weaver of Western literature. This figure is erected by epic as a display of femininity, a femininity reinforced in Greek tragedy. We are interested in the modeling of Penelope destined to weave and engaged in weaving tasks to notice the fictional unfolding that guarantees the reproduction of an imaginary of femininity, but, above all, to recognize in the recent narrative of the Americas the alterations and re-creations that allow us to narrate the link between bodies and writing in another way. For this purpose, we propose the displacement of a metaphorical conception of the text by a material conception of knitting.

Based on a discussion of the composition and presentation of Escritura y temblor, a posthumous book by Chilean philosopher Patricio Marchant, the article sets out to examine the ways in which a work is taught, exhibited or shown. These modes of exhibition and teaching warn that the themes of exhibition, documentation, and in general the meaning attributed to archival activities, are inscribed in space and time as an enduring perceptual and cognitive disposition. Pablo Oyarzun and Willy Thayer, as editors of Escritura y temblor, work in the order of the archive as curatorial artists of a work, insofar as they invent a form of presentation, a mode of exhibition, a figure of thought. Interrogating these figures of exhibition and thought demands interrogating the relations that Marchant’s writing establishes with the visual arts and with portraiture.

The article presents some diverse forms and modalities of visuality expressed by Roberto Bolaño’s poetry. Starting by the idea of avisuality (Mizuta), a specific sample of writings related to paintings by J. Van Eyck, El Greco and Francis Bacon is analyzed and commented. The suggested reading states that visual exploration by Bolaño’s poetry alters the paradigm of ocular-centrism, by deautomatizing the cultural conventions tending to fix and shape our own views. By doing so, his poetical proposition is projected with critic potential in the context of contemporary visual culture.