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Copyright of Acta Medica Colombiana is the property of Acta Medica Colombiana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The goal of this article is to analyze fragments in the chapters of Juan de Mairena. Sentencias, donaires, apuntes y recuerdos de un profesor apócrifo, written by Antonio Machado and published in 1936. Our methodology is mainly focused on performing quantitative analysis on the data. The data also include the newspaper articles published by Machado in Hora de España and La Vanguardia. The results of these analyses were interpreted according to relevant studies on the author's work. [ABSTRACT FROM AUTHOR]

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Signa is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Investigaciones Feministas is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cultura, Ciencia y Deporte is the property of Cultura, Ciencia y Deporte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de la Asociación Odontológica Argentina is the property of Asociacion Odontologica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the history of Mesoamerican mask as a mutating artifact and cosmotechnic expression. It is divided into three sections which deal with the historical development of the mask. The first part is an analysis of the precolonial mask as an integral part of the cosmovisions and customs in Mesoamerica. The second part explains how the process of colonization led to a different worldview of the mask as a syncretic object and an artifact of rebellion. Finally, it explains the contemporary situation of the mask as an expression and symbol of resistance in Nicaragua. The article concludes that the mask is a technical object that has mutated over the course of Mesoamerican history, constructing new values and worldviews. [ABSTRACT FROM AUTHOR]

"Masking Strategies in Kierkegaard and Kafka. A Brief Reflection on the Role of the Writer on Modern Bourgeois Society". This article discusses the masking strategies that Kierkegaard and Kafka adopted throughout their lives. Firstly, some features of bourgeois society and the role that the writer had within it are analyzed. Subsequently, Kierkegaard's communication strategy is described, and its ends are identified; after that, we follow the same procedure with the case of Kafka. Finally, the two positions are compared, underlining differences and similarities to use the results as elements for a brief reflection on the role of the act of writing in modern bourgeois society. [ABSTRACT FROM AUTHOR]

Objective: To develop a methodology for evaluating the level of respiratory protection provided by respirators, surgical masks and community face masks used by the Peruvian population; protection was evaluated against particles of a size similar to those containing active SARS-CoV-2 virus. Materials and methods: A direct linear relationship has been determined between the logarithm of the concentration of airborne particles and the elapsed time; thus, it is possible to compare the quantity of particles inside and outside of the mask or respirator in the same time period, as well as to obtain the percentage of respiratory protection for each evaluated sample. Results: A methodology was established to evaluate the level of respiratory protection against aerosols smaller than 5.0 μm. Also, the use of accessories such as garters or adjusters behind the head and neck, and the use of strong nasal clips, significantly increased the level of respiratory protection against particles with a high probability of containing SARS-CoV-2. Conclusions: We found concordance between the obtained respiratory protection values and those expected, considering the filtration level of the material used for each surgical mask or respirator, as well as the tightness. A significant increase in the levels of respiratory protection was observed. [ABSTRACT FROM AUTHOR]

Death masks have traditionally occupied a space of little importance within historical-artistic historiography. This research aims to demonstrate their important role in the knowledge of the visual culture of the time in which they were created, as well as their impact on later periods. The “mascarillas” created in Spain, which have been little researched to date, can be well traced from the Spanish press, where we can find a lot of information about their various uses. But the aim of the research will not be to create a history of death masks in Spain, but to develop an analysis of them in relation to the theory of images. Thus, we will see their links with other related practices such as photography or drawing, obtained in the funerary bed, but with special importance in their connection with the memorial sculptures that were created from the mask of the deceased. Finally, we will briefly analyze all these works in relation to post-photography, thus assuming the anachronistic nature of these images, to see how these links of the death masks with other visual manifestations continue to operate in the present. [ABSTRACT FROM AUTHOR]

Face masks are an effective shield against the spread of coronavirus. Although some controversy and politicization persist, experts have proven their value for both the wearer and the community, thereby discrediting detractors. Like all healthcare professionals, we dentists must vigorously defend face mask use in accordance with the guidelines of health authorities. However, the widespread and long-standing use of face masks has some undesirable psychological effects that are also noticeable in orthodontics: 1) By concealing a person's face, masks hide malocclusions and dentofacial deformities and can make patients less motivated to seek orthodontic treatment. 2) Face masks also hide esthetic improvement produced by treatment, which can mitigate its psychotherapeutic effects. 3) Masked faces are a reminder of the widespread risk of contagion, which may discourage potential patients from scheduling appointments with any dentist. In COVID-19 times, orthodontists must be able to enhance patients' motivation and highlight the biopsychosocial benefits of treating malocclusions or dentofacial deformities. They must further allay patients' fear of contagion and make the case that masking poses an opportunity for orthodontic treatment during a time when the appliances will go unnoticed under the face mask. Once the pandemic is over, the restored smiles of orthodontic patients will help soften its emotional aftermath in our post-COVID 19 society. [ABSTRACT FROM AUTHOR]

Copyright of Revista Andaluza de Medicina del Deporte is the property of Centro Andaluza de Medicina del Deporte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay intends to interpret the novel Yo El Supremo (I, The Supreme, 1974), Augusto Roa Bastos's masterpiece, taking into consideration first and foremost the importance of the act of writing itself and, subsequently, that of the writer, seen as the new magician of our times and whose activity is meant to uncover the hidden depths of reality -- and of the previous meanings of literature as well. The modern writer's ontological tragedy is related to the revelation of the duality/identity implied in the simple act of contemplating oneself in the mirror: "Je est un autre," as Arthur Rimbaud said. Generally understood as a complex (and somehow Baroque) dialogue of the contraries, Roa Bastos's work is not only a novel describing the reality and horrors of the dictatorship, but also a deep and lucid meditation on human nature and on the nature of literature as well. Of course, in many pages the reader may recognize characteristics of Paraguay's dictator José Gaspar Tomás Rodríguez Francia, but the book is capable of exorcizing all its demons. Thus the great surprise of this text consists in its layered construction and in its elaborate literary dialogue with the masterpieces of some great Latin American predecessors. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Clásica: Estudios Griegos e Indoeuropeos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to examine the ways in which the poetic speaker manifests itself in the iambic poetry of Hipponax of Ephesus (6th century BC) and its possible functions within the poetic performance. In more specific terms, from a discursive analysis, we analyze the ways in which the first and the second person are deictically inscribed in frs. 2, 42, 43, 47, 49 y 208Dg, and the identity relations that are established between the different actants of the enuncive and enunciative levels. In short, it is concluded that it is possible to observe a process of masking, in which the 'I' assumes the role of a suppliant in a parody of the prayer [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyze an outstanding work of art: Jose Luis Romo's masks. He is a very important otomi artist whose main work is about masks made out of brass and bunch of maguey. The artist has tried to set his work in a traditional, even though forgotten, ritual practice. Before the Spanish people came to America these masks of maguey bunch were part of a harvest ritual feast in Valle del Mezquital (Hidalgo, a central state of Mexico). In order to go on with the analysis of this masks we have developed a mask aesthetic and semiotic that points to the explanation of Romo's mask as Works of art. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bajo Palabra: Journal of Philosophy is the property of Bajo Palabra: Journal of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article introduces a biographical synthesis of Jacques Lecoq, exposing his pedagogical work including the "gestures of daily life", the neutral mask and expressive masks; with the purpose of answering within the framework of Eugenio Barba's Theatrical Anthropology theory, whether or not the "pedagogical journey" of Lecoq is based on an extra-daily technique of acculturation or on an extra-daily technique of inculturation. [ABSTRACT FROM AUTHOR]

In the text, the word «mask» is treated in a broad sense, like that in the Spanish Golden Age, i.e., not only as an object, but as a peculiar type of disguise, as appearance. The article makes a distinction between «carnival mask», expression of freedom and happiness, and "social mask", which assumes current standards of the system. There are masks that are present in the political life and served to legitimize power, masks in religious life, showing the connection between the festive and the sacred. Both types of mask will also be present in the theatre, and both complement each other. [ABSTRACT FROM AUTHOR]

Copyright of Brocar: Cuadernos de Investigación Histórica is the property of Universidad de la Rioja, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Instantes y Azares: Escrituras Nietzscheanas is the property of Instantes y Azares: Escrituras Nietzscheanas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Olivar is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents an outline of a study resulting from an action research conducted with a group of 7th graders of an Elementary School located at south of Rio Grande do Sul State, Brazil. Based on theoretical areas of Anthropology, Psychology and Art History, the study underscores the importance of masks in cultural and artistic manifestations and their ancestral and contemporary character, which favor its use as propulsion forms of artistic learning. Through teaching practice including research, the study analyzed the elements of student identification with its artistic production, and what these elements revealed and concealed based on the creation of masks and texts produced. The study results indicate that, transcending boundaries of space/time and entering into meaningful processes of subjectivities, the educational use of masks made it possible for learners to emerge from spaces for production and artistic experiences that by enhancing their means of expression, they could produce knowledge about themselves and their classmates. [ABSTRACT FROM AUTHOR]

The article presents an analysis of the first evidences of copper metallurgy in the Andes region. Particular focus is given to a recovered copper mask found in the Northwestern Argentina, which provides many archeological information on that period. The author provides a detailed description of the composition, features, and morphology of this rare metal artifact, which is an early evidence of the metallurgy use.

Copyright of Praxis Filosófica is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article develops an anthropological explanation of the ritual masks of the Chané indians of Argentina. The masked dancers appear during the annual arete celebration. The cultural meaning of these masks, however, must be pursued beyond their ritual performance, relating it to several symbolic contexts, as a) the ritual practices involving the sacred nature of the materials in which masks are made; b) the beliefs concerning the native notions of "death," "soul," and "person"; and c) the relation between the cosmological myths, the peculiar behaviour of the masked dancers, the mask destruction, and the social representation of "time." [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)