La antropología de Pedro Laín Entralgo, y su aplicación a la enfermería

Introduction. Current times are distinguished, among other things, by the instability of the events, facts and ideas that follow one another vertiginously. The circumstances that surround our society are extremely changing, as well as the way of understanding things and assessing recent developments. The material world dominates over human life. Productive tasks take first place. Appearances are unstable and the ephemeral confirms its power in the 21st century’s mentality. We are immersed in the aesthetics of seduction and image. And in human life, the expansion of needs in all walks of life has become part of the structure of human beings’ existence in the current world. The consumerist fever, the euphoria for new things have made the sense of life virtually insubstantial. All this hardly fits into the nature of healthcare professions. In our case, nursing science has scarce support in our society for continuing the research about the meaning of being a nurse that the reality of the profession requires...

La imagen en el discurso multimodal cortazariano, una poética en movimiento

The selection and proposed cortazarian image in multimodal speech, a poetic moving as a doctoral thesis title, is the result of a process that forms several progressive stages. more than satisfy our curiosity and literary artistic concerns, the questions multiply increases our desire to bring more creative Cortazarian the colossus, that not only ruins a way of making literature , but in its revolutionary labyrinth gives a turn of the screw to the already tangled world of artistic writing , breaking in 1967 with the first of four hybrids books, La vuelta al día en ochenta mundos through which converts the traditional plastic unitextual and unimodal space in a palempsesto inexhaustible generator senses and meanings. Far from appeasing the wrath of conservative critics, caused by his narrative masterpiece, Hopscotch (1963), sparked the debate to denounce the regression of the classic molds of writing, proposing the imagination as the setting for creative freedom, it is not as arbitrary and nonsense, but as a process of higher state of consciousness in which it operates an underlying logic. Hence, our objective is to crawl into the underworld and plastics other multisígnicas border spaces, fleeting and ephemeral alliances that relate not just as complementary and similar texts which may be the same speech and can transmit the same, but quite the contrary, the oft-repeated notion of analogy is the first victim, fortunately, this kind of creative-artistic operations that raise the creative act to a sublime state capable of converting the inexhaustible multitextuales constellations in different ways: opposition, confrontation, invasion, dialogue, shadow, duplication, theft, etc. However this multiple transgression pushed to the limit by Julio Cortazar and his friend Julio Silva through four books proposed for analysis often does not translate into jobs and research in literature departments of the universities of the world, nor the critics are echoes the striking abundance and clarity of expression multimodal phenomenon as is the case with other works of Cortazar unimodal type, which makes it impassable fences mysterious worlds...

Luis Bello: vida y época. Su producción periodística y literaria

Taking into account the cultural and literary wealth of the first third of the twentieth century in Spain, this doctoral dissertation aims to increase our knowledge of literary journalism during that period through a monographic study of one of its greatest champions, the journalist and writer Luis Bello Trompeta (1872-1935). Although Bello enjoyed noteworthy success and popularity in life, he has since fallen into an almost complete yet unjustifiable oblivion. Bello’s lifetime coincided with a brilliant period of Spanish culture, one that is almost unanimously considered not simply a Silver Age but a veritable golden age of journalism in Spain. Nevertheless, the period is often unjustly reduced to a short list of names and works of extremely well known and well studied writers. There is a tendency to forget that such writers emerged within a vast, influential context comprising numerous cultural products, writers, and works that need to be recovered. More specifically, the general inclination to privilege the book as a period’s sole bearer of literary or testimonial significance often deprives us of richly complementary journalistic sources such as the chronicle or the newspaper report. Indeed, together with the book, such articles can help us achieve a broader understanding of both literary history and the personality of individual writers or the course of historical events. The fact that authors like Luis Bello are practically unknown today is likely related to the time-sensitive, intrinsically ephemeral nature of journalism, the print medium in which Bello published most of his work. Yet in spite of its passing nature, the press witnessed remarkable developments in Spain at the time, undergoing a transformative process of consolidation...

Dramaturgias en el teatro actual de las Antillas. Cartografía de poéticas en movimiento: Teresa Hernández y Josefina Báez

This dissertation aims to explore the contemporary Caribbean and its dramaturgy through the study of the artistic work of two remarkable artists: the Puerto Rican Teresa Hernández and the Dominicanyork Josefina Báez. Both artists are currently generating a lot of attention due to the internationalization of their creations, but still their work deserves even more consideration. These skilled stage artists connect various islands through their artistic work: Puerto Rico, the Dominican Republic, and the islands within New York City. The different cultures that converge and coexist in these places exemplify the process of hybridization that characterizes our modern world. Teresa and Josefina illustrate in their plays the plurality of the Caribbean, depicting a true multiplicity of languages and cultures that makes it impossible to adopt a fixed and unique conception of a national identity. They engage in the difficult task of finding out what it means to be a Puerto Rican, a Dominican or a New Yorker. Both performers clearly criticize the notion of an identity that pretends to fuse and include all the possible voices of every Caribbean nation under a sole definition. Therefore, one must consider the heterogeneity that surrounds us as the basis to approach the work of these two artists when evaluating the Caribbean, as well as the dramaturgical procedures these great performers employ. To begin with, how can we talk about the Caribbean? How can we talk accurately about dramaturgical procedures? Furthermore, how can we express with words the ephemeral aspect of the theatrical event? How can we use words to address a Caribbean reality, which contains European and American standards, but does not necessarily follow them? These are the questions that the present investigation seeks to answer; however, it is not an easy task. Thus, the real challenge of this dissertation is to offer a rigorous response to these questions...