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Although Alba de Céspedes's work has been receiving critical attention in numerous monographs, books of proceedings and scholarly articles for more than two decades, some of truly significant texts of this Italian-Cuban writer, journalist and engaged intellectual have been relegated to obscurity. One of them is her third collection of short stories Fuga (1940), published two years after her early novel Nessuno torna indietro (There's No Turning Back, 1938), which brought her international fame. After a brief review of the circumstances in which the short stories were created, the paper draws attention to their most important themes: writing and the position and roles of women in society. In addition, the paper also attempts to find a connection between this work and some of Alba de Cespedes's novels. [ABSTRACT FROM AUTHOR]

Introducción y presentación del dosier "Los destinos de los conversos en la sociedad cristiana tardomedieval: integración, criminalización, fuga".

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Introduction: Perforated peptic ulcer remains one of the critical abdominal conditions that requires early surgical intervention. Leakage after omental patch repair represents one of the devastating complications that increase morbidity and mortality. Our study aimed to assess risk factors and early predictors for incidence of leakage. Methods: Retrospective analysis of data of the patients who underwent omental patch repair for perforated peptic ulcer in the period between January 2019 and January 2022 in Mansoura University Hospital, Egypt. Pre, intra and postoperative variables were collected and statistically analyzed. Incriminated risk factors for leakage incidence were analyzed using univariate and multivariate analysis. Results: This study included 123 patients who met inclusion criteria. Leakage was detected in seven (5.7%) patients. Although associated comorbidities (p=0.01), postoperative intensive care unit admission (p=0.03), and postoperative hypotension (p=0.02) were significant risk factors in univariate analysis, septic shock (p=0.001), delayed intervention (p=0.04), preoperative hypoalbuminemia (p=0.017), and perforation size >5mm (p= 0.04) were found as independent risk factors for leakage upon multivariate analysis. Conclusion: Delayed presentation in septic shock, preoperative hypoalbuminemia, prolonged perforation, operation interval, and large perforation size > 5mm were detected as independent risk factors for leakage. Postoperative tachypnea and tachycardia with increased levels of C-reactive protein and total leucocytic count are alarming signs for incidence of leakage. [ABSTRACT FROM AUTHOR]

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William Byrd was an unusually creative contrapuntist: he is known for his virtuosic double counterpoint, his expressive manipulation of soggetti (imitative subjects), his capacity for exhausting possible contrapuntal combinations in stretto passages, and his points of imitation that build toward an expressive climax (what Joseph Kerman [1981 ] has described as Byrd's "cumulative" imitation). This article addresses a cumulative technique that has not previously been identified: syllable-invariant counterpoint. Byrd often develops points of imitation where the soggetto is solmized identically in two hexachords (what sixteenth-century theorists called fuga , in contrast to imitazione). But Byrd frequently builds points toward an extra statement of the soggetto in a new, bonus hexachord; this transposition introduces a new semitone foreign to the work's local tonality. Byrd thematizes syllable invariance throughout his vocal repertory, particularly in his serious motets. This article shows how Byrd combines syllable-invariant counterpoint with a variety of distinct imitative strategies to achieve specific expressive and tonal goals. The article further considers the implications of syllable invariance for tonal structure in Byrd's music. Syllable-invariant counterpoint makes visible the constraints and affordances of Byrd's tonal system, the Guidonian diatonic gamut under hexachordal solmization. Byrd carefully controlled the tonal compass of his works by using syllable invariance, among other strategies, to manipulate his counterpoint's "chromatic" ambit. Syllable-invariant counterpoint—which Renaissance musicians would have understood as a diatonic, not chromatic, strategy—encompasses Byrd's contrapuntal, expressive, and tonal compositional techniques. [ABSTRACT FROM AUTHOR]

El objetivo de este trabajo es abordar las respuestas institucionales a partir de la fuga de la Penitenciaría Nacional de Buenos Aires, sucedida en agosto de 1923, una de las más representativas de la historia del penal. El suceso, de amplia cobertura mediática, implicó importantes consecuencias con respecto a la administración del castigo en la prisión modelo del conjunto penitenciario del estado argentino: evidenció algunas de las problemáticas coyunturales del penal porteño como dificultades intrínsecas en la dirección, deficiencias en el orden de la vigilancia y tensiones con la población recluida. El análisis de la fuga a través de la prensa masiva demuestra los límites de las intenciones regeneradoras de la Penitenciaría Nacional en los momentos de crisis. En este sentido, el artículo se estructura en tres partes. En el primer apartado se desarrolla el contexto en el cual tiene lugar el escape, relacionado principalmente con los cuestionamientos en torno al emplazamiento del penal, que se había proyectado para funcionar en las afueras de una ciudad que se urbanizó a un ritmo mucho más acelerado que lo esperado. Además de la metropolización de los alrededores de la penitenciaría, otros antecedentes de insurrecciones influyen de manera directa en la interpretación de la fuga de 1923, desarrollada en el apartado siguiente a partir de documentación institucional y prensa de época, que sigue de cerca el suceso durante varias semanas. Por último, se abordan las decisiones y propuestas institucionales por parte del Ministerio de Justicia e Instrucción Pública sobre dicha problemática.

No debate sobre masculinidades negras, entende-se que homens negros historicamente são reduzidos a imagens de controle, fundamentadas por imaginários a serviço da colonialidade e do dispositivo de racialidade. No entanto, há a emergência de práticas performáticas artísticas importantes na construção de estratégias de ressignificação, buscando questionar o regime racializado de representação e propondo novos modos de fabular o corpo e as subjetividades do homem negro. Este trabalho analisa como as performances dos artistas contemporâneos Antonio Obá e Tiago Sant’Ana buscam estratégias contranarrativas de contestação dos artefatos simbólicos representacionais. Suas obras apresentam o corpo negro masculino inscrito enquanto tática fabulatória de resistência em raça e gênero.

Resumo Este artigo tem o objetivo de investigar quais os limites para o reconhecimento da condição de foragido no discurso judicial e as suas consequências na decretação, na manutenção ou na revogação da prisão preventiva. O artigo utiliza duas principais estratégias para responder ao problema proposto. A primeira consiste na elaboração de uma revisão de literatura sobre fuga e prisão processual, mapeando os contornos e as ausências sobre esse tema na literatura científica. Nota-se a ausência de um tratamento concreto a respeito dos significados e limites para o reconhecimento da fuga no processo penal. A segunda estratégia consiste em uma análise empírica de decisões do Superior Tribunal de Justiça (STJ), proferidas entre 2020 e 2021. Como resultados da pesquisa, pode-se afirmar que o STJ tem posições que ora limitam o sentido da fuga, como a distinção entre não localização e fuga, ora relativizam suas consequências, a exemplo das fugas distantes no tempo, ora reafirmam o sentido da fuga como justificativa para imposição de prisões processuais, como o caso de permanência da fuga no momento da decisão. Nesse sentido, o artigo contribui para a compreensão dos sentidos que o Poder Judiciário atribui à categoria da fuga ao longo do processo penal.

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The images of road and journey have served to characterize the life of human persons. But beyond this symbolism, there is the reality of the person who journeys in space and time, who has felt the call from outside himself. This article will present some examples of people who made the road or the journey their way of existence; their unending travel had a considerable element if transgression, as well as encounter with Otherness. In their walking or travel, we discover a poetics of wonder and the unknown. This also suggests a “mysticism of walking” or a spirituality of the journey which goes beyond religious or confessional boundaries. [ABSTRACT FROM AUTHOR]

Resumo Este artigo relata passagens do nosso encontro com duas mulheres negras: Dona Luiza e Fafá. A primeira, uma senhora moradora de favela, matriarca, mãe de um homem condenado por estupro, avó da criança que teria sido estuprada. A segunda, uma jovem de 24 anos, mãe de um menino de três, atriz de filmes de fetiches extremos. Partindo da ideia de que as vidas negras permanecem na oscilação entre a sujeição e a fuga, nos interessa descrever como essa oscilação acontece no plano do ordinário e interpretar a sua relação com evocações da escravidão que se realizam em fragmentos ou se materializam em situações de “faz de conta”. A fuga, mais do que resistência, denota formas ambivalentes de estar no mundo, movimentos imprevisíveis para quem se esforça para tocar a vida. Discutimos imagens e situações que têm a capacidade tanto de restaurar a sujeição quanto de conjurá-la.

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Copyright of Contexto Revista Anual de Estudios Literarios is the property of Facultad de Medicina, Universidad de los Andes, Venezuela 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.)

Este texto apresenta algumas breves reflexões teóricas-políticas-vivenciais das ações afirmativas a partir de uma perspectiva de ume pesquisadore prete reparade por essa política desde a sua graduação. Deste modo, tomo a minha própria trajetória como exemplo de análise e descrição do cotidiano de estudantes negres nas universidades, sem cair no conto perigoso da universalidade e/ou da romantização. Deste modo, coloco-a no seio da movimentação histórica para, enfim, pontuar as transformações ocorridas no ambiente universitário e, sobretudo, argumentar que as políticas de ações afirmativas promovem uma quebra (Mombaça, 2021) na forma de se pensar a universidade e a dinâmica de produção de conhecimento. Assim, finalizo o texto realizando uma discussão inicial a respeito do fenômeno da fuga como (mais) um lugar (possível) de produção de conhecimento.

The theme of the journey in Tondelli’s work stands out as one of the most significant keys to understanding his vision of life and the search for one’s identity, which it is precisely through the experience of the journey, real or imaginary, that it can be brought to completion. More often than not, this can lead to rebellion, a sense of rupture and estrangement from one’sdimension of origin, yet not of a definitive kind. In fact, in travelling and in its instinct to escape from oneself and one’s roots, there is always inherent the need to return, to confront what one rejects and from which one wants to detach oneself, undeniably linked to our existence and indispensable to complete our formation. [ABSTRACT FROM AUTHOR]

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O artigo forja o princípio da fuga para pensar as poéticas do desaparecimento do corpo que encontram, no que o autor denomina de performance fugitiva, uma maneira de tornar vivos os modos de existência, os quais seriam destinados, pelo futurismo reprodutivo da normalização estética, ao desaparecimento e, consequentemente, à morte. Em diálogo com os Black Studies, a crítica anticolonial e um pensamento próprio sobre o campo sensível, o artigo trama os fios que expõem os programas de reteorização, representação, abstração e performance sob o tráfego do devir-negro das artes.

Introduction and aim: Total gastrectomy is utilized in different pathologies. Esophagojejunostomy leakage is a frequent complication. Our aim was to determine the association of the neutrophil-lymphocyte ratio (NLR) with esophagojejunostomy leakage that subsequently required invasive treatment. Materials and methods: A retrospective study included patients that underwent esophagojejunostomy within the time frame of 2002-2017. Patients were grouped into those with or without anastomotic leakage that had conservative treatment (group A) and those with anastomotic leakage that had invasive treatment (group B). ROC curves and the Youden index were used for the optimum cutoff values of the NLR. Results: Fifty-seven patients were included. Thirty-two (56.14%) were men, and mean patient age was 61.8 ± 13.4 years. Forty-five patients were assigned to group A and 12 to group B. Mean NLR was higher for group B on postoperative day 3 (group A 9.5 ± 7.5 vs. group B 13.9 ± 4.9) (p = 0.05). Mean total leukocytes was higher in group B on postoperative day 5 (group A 7.8 ± 3.4 × 103/mcl vs. group B 10.3 ± 4.4 × 103/mcl) (p = 0.03). NLR and total leukocyte accuracy on postoperative day 3 was calculated with ROC curves, at 0.78 and 0.63, respectively. For the NLR and leukocyte count, sensitivity was 91.7% and 58%, specificity was 64.4% and 60%, positive predictive value was 40% and 28%, and negative predictive value was 96% and 84%, respectively. Conclusions: Postoperatively, the NLR identified the total gastrectomy with esophagojejunostomy patients that subsequently required an invasive procedure secondary to esophagojejunostomy leakage. Resumen: Introducción y objetivo: La gastrectomía total (GT) se utiliza en diversas patologías. La fuga anastomosis esófago yeyunal (FAEY) es una complicación frecuente. El objetivo es determinar la asociación del índice neutrófilo / linfocito (INL) con FAEY que requerirán tratamiento invasivo. Material y Métodos: Estudio retrospectivo, incluyó pacientes sometidos a GT en 2002-2017. Se agruparon los pacientes con o sin fuga de anastomosis que recibieron manejo conservador en un grupo (Grupo A), y pacientes con fuga que recibieron procedimiento invasivo en otro grupo (Grupo B). Se utilizaron curvas ROC y prueba de Youden para los valores de corte óptimos del INL. Resultados: Se incluyeron 57 pacientes; 32(56.14%) eran hombres y la edad media fue 61.8 ± 13.4 años. Se asignaron 45 pacientes al Grupo A y 12 pacientes al Grupo B. La media de INL fue mayor para el Grupo B en el día 3 postoperatorio (PO)(9.5 ± 7.5 Grupo A vs 13.9 ± 4.9 Grupo B) (p = 0.05); la media de leucocitos totales fue mayor en el grupo B en el día 5 PO (7.8 ± 3.4 × 103/mcl Grupo A vs 10.3 ± 4.4 × 103/mcl Grupo B)(p = 0.03). La precisión del INL y los leucocitos totales en el 3PO fue calculada con curvas ROC, siendo 0.78 y 0.63 respectivamente. La sensibilidad fue de 91.7% y 58%, especificidad 64.4% y 60%, valor predictivo positivo 40% y 28% y valor predictivo negativo 96% y 84% para el INL y leucocitos respectivamente Conclusiones: En el periodo postoperatorio, el INL predice cuales pacientes sometidos a GT con esófago yeyuno anastomosis requerirán algún procedimiento invasivo secundario a FAEY.

Artykuł poświęcony jest twórczości Myrosława Skoryka, wybitnego ukraińskiego kompozytora, dobrze znanego na polskiej scenie muzycznej. W szczególności chodzi tu o omówienie dwóch par preludiów i fug: C-dur nr 1 i F-dur nr 6 z polifonicznego cyklu na fortepian. Kompozycje te zostały poddane analizie muzykologicznej i wykonawczej. Rozpatrzona została specyfika stylistyczna i interpretacyjna tych utworów.

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This article analyzes two novels from the ongoing trilogy by professor and essayist Cristina Robalo Cordeiro - Fuga Marroquina (2016) and A Lição de Pintura (2021) - which explore Portugal's literary relations with the Francophonie and the interiority of the Maghreb. The novels fill a void in Portuguese literature by addressing the Maghreb and the world of women, bringing a unique and culturally relevant perspective to the narrative. The author explores the relationship between the hybrid identity of an intimate foreigner and otherness, using literary and cultural references as a form of ethical and political commitment. The novels also depict sisterhood among women, but also show submission and power struggles in the domestic space. The narrative is complex, intertwining different voices and stories, and incorporates other forms of art, such as paintings and photographs. The article also discusses the literary engagement of contemporary Moroccan writers in writing the history of the colonial period, expressing anti-colonialism in their works. [Extracted from the article]

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O artigo analisa as circunstâncias em que escravos e senhores da capitania da Bahia apelaram à autoridade régia em Lisboa e ponderaram sobre escravidão e liberdade nas últimas décadas do século XVIII. Usando como fio condutor processos de escravizados de dois grandes negociantes, procura-se compreender os personagens envolvidos e a complexidade do contexto em que apelaram à rainha durante a vigência do alvará de 19 de setembro de 1761. Essa lei proibia o desembarque de escravos nos portos de Portugal e foi mobilizada tanto para fundamentar a alforria quanto para frear os anseios de liberdade dos cativos que ali desembarcaram com seus senhores ou fugidos. O estudo se baseia em fontes variadas, cujo cruzamento possibilitou aproximar a lente sobre esses conflitos e problematizar o fenômeno da alforria entre senhores de poder e prestígio.

Neste artigo se trata das fugas para piano do compositor checo Anton Reicha (1770-1836), ilustrando suas inovações de escrita fugal desenvolvidas a começos do século XIX, a partir de uma das fugas da coleção de 36. O objetivo é dar a conhecer uma obra esquecida de um compositor pouco frequentado do repertório, que teve uma grande importância e influência, tendo sido professor no conservatório de Paris desde 1818 até sua morte em 1836. Para mostrar de forma mais efetiva a originalidade deste compositor, decidiu-se por começar o artigo a partir de uma sucinta análise de uma das fugas, mostrando só depois o contexto da sua criação e considerações gerais. É importante salientar a ausência de qualquer material bibliográfico ou estudo acerca deste compositor e sua obra no idioma português, de forma que este artigo pretende ser uma introdução para despertar o possível interesse em aprofundar estudos acerca de Anton Reicha.

Jesus Carrasco with Intemperie (outdoor) (2014) puts at the center of the contemporary spanish narrative a child who is crossed by an order in which violence and vulnerability prevail over his body and whose only way is escape. Escaping acts as a break in the order imposed for the establishment of new ones, and in that process the child is the one to make to live (Foucault). In turn, the make-live is linked to the becoming-animal, which, following the biopolitical thesis of Gabriel Giorgi (2014), acts as (dis) figuration in the child-body and as a configuration of new ways of life. In the following article, I propose to inquire into the way in which this development occurs, and consequently, how his life is reconfigured.

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Colonia Dignidad is usually associated with the period of the military dictatorship and the subsequent era of democratic governments. In this article, however, we analyze the origins of Colonia Dignidad dating back to its establishment in Chile in 1961. Based on German and Chilean documentary sources, we argue that the drastic isolation of the german settlement and its regime of the forced seclusion of its members, led to the development of a sectarian community. The escape of an underage youth, in 1966, demonstrates that the systematic violation of human rights was a constitutive element of the enclave controlled by Paul Schäfer from its very beginning. Additionally, we study how the Colonia Dignidad phenomena interacted with the German and Chilean states and from the perspective of the historical period in which it emerged. [ABSTRACT FROM AUTHOR]

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In Michael Maier's celebrated book of alchemical emblems, Atalanta fugiens, each one of the fifty emblems is associated with a musical fugue. The race between Atalanta and her lover Hippomenes, the victory of Hippomenes thanks to three golden apples provided by the goddess Venus, the punishment of the two lovers by the same Venus... are episodes of a narrative which seems omnipresent in each fugue, the three parts of which are named "Atalanta", "Hippomenes" and "apples". It has been, however, seldom remarked that the symbolic reading of the Greek myth, on the model of an "ascension, misconduct and fall" progression, enters into dissonance with the alchemical interpretation of the same narrative given by the author himself, conceived this time on the basis of a dynamics of "heat" leading to red incandescence and to the most successful completion of an alchemical experiment. The consequences of this dissonance between a moral and a performative interpretation can prove fruitful when applied to an actual musical rendition of the fugues, calling for a renewed approach to the book by musicians. [ABSTRACT FROM AUTHOR]

Este artículo muestra el carácter contradictorio en las subjetividades que ponen en juego migrantes mexicanos de origen rural al insertarse mayoritariamente al mercado de trabajo de los restaurantes y a la vida en Nueva York. Teniendo “el poder despótico del capital” y la “fuga” del “trabajo vivo” como ejes polares de las relaciones de poder en las que se mueven los migrantes, se muestra, con base en un caso etnográfico, que las subjetividades y las prácticas nunca se mueven en un sólo sentido de estos polos, sino que están atravesadas por el antagonismo. Así, se analiza cómo los migrantes se disciplinan, al mismo tiempo que desafían el carácter embridado del trabajo que realizan en los restaurantes, donde la disposición y explotación de su mano de obra se produce por una combinación de ilegalización, precarización y subjetivación. En consecuencia, se presentan distintos sentidos de “fuga” desde el punto de vista de las visiones de los migrantes en torno a la subordinación y a la disciplina del trabajo en Nueva York, en contraposición a la subordinación del trabajo campesino en su localidad de origen, desde el punto de vista de un campo multipolar de defección y sustracción, en donde las “fugas” parecen más las marcas de un proceso tenso y contradictorio de transiciones constantes, que líneas unidireccionales de huida.

A proposta do texto é analisar o conto "A terceira margem do rio", de João Guimarães Rosa, publicado em 1962 no livro Primeiras estórias. Problematizamos o conto a partir de uma conversação com a filosofia de Gilles Deleuze, em especial o conceito de linhas de fuga. Para Deleuze, ‘fugir’ é um ato que nos conduz a um novo modo de vida. Enquanto ato de coragem, ‘fugir’ possui o sentido de romper com o que é estabelecido. Dessa maneira, podemos pensar o ato do pai que abandona absolutamente tudo e se implica com o rio como a desterritorialização maior e mais radical. Uma sorte de delírio que faz com que um homem simples traia seu próprio tempo e história; desvia seu rosto dos antigos códigos, abandonando aquilo que o "prendia à terra", para experimentar um outro devir.

Pela perspectiva discursiva materialista, refletimos sobre o gesto de fuga em sua relação com o simbólico, situando-a como um gesto que ultrapassa sentidos unívocos. Na construção de utopias relacionada à cidade, especialmente, fica estabelecido um jogo de sentidos que delimita um âmbito específico para o qual determinadas pessoas devem ir e de onde outras pessoas deveriam fugir. É dessa forma que se apresenta o projeto de Pacificação das favelas que abre a análise para outras possibilidades de fuga.

In 1936, an edition of the Revista Brasileira de Música in commemoration of the birth centenary of Antônio Carlos Gomes (1836-1896) was published. In this volume, an interesting article by Paulo Silva dealt with the studies of counterpoint and fugue of the author of Il guarany. Silva, professor of counterpoint and fugue at the National Institute of Music, selected examples of Gomes' exercises conducted in Italy, under the guidance of Lauro Rossi, professor and director of the Milan Conservatory. In many of these examples, errors or slips are pointed out which Silva attributes, at least in part, to the shortcomings of Rossi's teaching method. The present work seeks to find the motivations, aesthetic and ideological, underlying the comments present in his article. The figure of the partimento and its consequences in the contrapuntal formation of Gomes were the starting point for the discussion on the teaching of counterpoint in Europe and Brazil in the Nineteenth and first half of the Twentieth Century. Furthermore, a mention is made of the Brazilian musical milieu at the time in which Silva's article was published. [ABSTRACT FROM AUTHOR]