188 research outputs found
Folklorist Matas Slančiauskas
No full textMato Slančiausko veiklumą skatino du pašaukimai. Duoną sau ir šeimai jis pelnė versdamasis siuvėjo amatu. Godus knygų skaitymas jau nuo pat mažumės išugdė jo dvasinius polėkius. Materialioji ir dvasinė veiklos pusės darniai sutarė vienoje asmenybėje. Kur nuvykęs, kaimo žmogų nudžiugindavo ne tik puikiai pasiūtu drabužiu. Lengvai su juo rasdavo ir bendrą kalbą. Buvo puikus pasakotojas, didelis dainų mėgėjas - tuo paskatindavo ir kitą atsiverti. Dėl to lengvai tapo paprastų kaimiečių atmintyje sukauptų dvasinės kūrybos lobių fiksuotoju ir saugotoju nuo pražūties. Lauryno Ivinskio kalendoriai, Fedro pasakėčios, Motiejaus Valančiaus "Palangos Juzė" su puikia pratarme, skatinančia kreipti atidą į vis besikeičiančius papročius ir juos lydinčią žodinę kūrybą, ir, kita vertus, tos kūrybos gausa tėviškėje ir aplinkiniuose kaimuose, - visa tai orientavo M. Slančiauską į tautosakos rinkimo ir - dar daugiau - jos rinkimo skatinimo kelią. Reikšminiai žodžiai: Kūriniai; Tautosaka; Matas Slančiauskas; Rinkimas; Tautosaka; Tautosakos istorija; Veikla; Activities; Collection; Folklore; Folklore history; Lithuanian folklore; Matas SlančiauskasThis year the 150th anniversary of the birth of Matas Slančiauskas, a merited collector of folklore, cultural worker of Northern Lithuania has been commemorated.The conference with regard to this event was held at the Matas Slančiauskas Gymnasium in Joniškis, where his vocal and verbal folklore collections including those of riddles, proverbs and sayings have been reviewed and estimated in the report "The folklorist Matas Slančiauskas" by Kostas Aleksynas with a partical attention drawn to the field of linguistic expression being in a closer relationship to the author of the report
L’autoficció en París no se acaba nunca d’Enrique Vila-Matas
No full textAquest treball pretén explorar els recursos autoficcionals del text d’Enrique Vila-Matas París no se acaba nunca (2003). Sota la forma d’una revisió irónica dels anys de joventut en París, Vila-Matas posa en joc diverses ferramentes destinades a trencar amb la mimesi del que és real. D’aquesta manera, el text es situa tant en la línea de l’autoficció com en la d’altres textos del mateix autor en els que la realitat i la literatura són totalment independents.This work seeks to explore the autofictional elements of Enrique Vila-Matas novel París no se acaba nunca (2003). In the form of an ironic review of his youth in Paris, the author makes use of several devices destined to fracture the mimesis of reality. Thus, the text is both in the line of autofiction as well as in the line of other texts from the same author in which reality and literature are completely interdependent
Posmodernity in the work of Enrique Vila-Matas
No full textThis thesis deals with the work of the Spanish writer Enrique Vila-Matas. The text firstly focuses on Vila-Matas himself and subsequently contemplates the role of this author within the scope of the Spanish, Hispanic and ultimately also international literary history. Given the fact that Enrique Vila-Matas is, in many aspects, an exemplary post-modern writer, it is interesting to follow the paralels in his narrative approaches and compare them with reflections of reality by various sociologists and philosophers, such as, for example, the French philosopher Francise Lyotard. Vila-Matas is a direct follower of the so called metaliterary approach to literature - literature about literature - the development of this method can be encountered in the Spanish prose of Jorge Luis Borges. This manner of writing is very close to the literary theories of Jacques Derrida or Julia Kristeva. Thoughts of these authors are easily applicable to the works of Vila-Matas due to the fact that they are essencially identical or better to say, they are fictionally implemented in the works of Vila- Matas. This part of the thesis focuses, among other issues, also on the very term intertextuality, a term very significant for the work of Vila-Matas. The last part of this paper deals with the analysis of several prosaic..
Vila-Matas near Veracruz. (Mutual) correspondences with Sergio Pitol
No full textEnrique Vila-Matas declara a Pitol su maestro. Pocos escritores españoles actuales tienen relaciones tan cercanas con América Latina y su obra, y han sido reconocidos con diversos premios en el otro lado del Atlántico. Si bien es cierto que al autor de Lejos de Veracruz demostró con creces su proximidad
literaria con varios autores hispanoamericanos, el presente artículo examina sus lazos con México a través de su amistad y convergencias literarias con Sergio Pitol. El recorrido realizado pone de manifiesto las diversas conexiones entre el autor catalán y su amigo mexicano, tanto personales, como textuales. Evidencia el papel que jugó Pitol en la configuración de la narrativa de Vila-Matas, cómo ambos se retratan mutuamente dentro de sus ficciones y el diálogo que establecen entre ellos.Enrique Vila-Matas declares Pitol his master. Few contemporary Spanish writers have such close relations with Latin America and its work and they have been recognized with several awards at the other side of the Atlantic. If it is true that the author of Lejos de Veracruz demonstrated his literary proximity with several Latin American authors, this article examines his ties with Mexico through his friendship and literary convergences with Sergio Pitol. Travel made through the texts highlights the various connections between the Catalan author and his Mexican friend, both personal, as the textual nature. The study
evidences the role played by Pitol in the configuration of the Vila-Matas narrative, as they portray each other within their fictions and the dialogue they establish
Enrique Vila-Matas, l'oulipien qui ne le savait pas
No full textVila-Matas no pertenece al movimiento Oulipo, pero es un autor que conoce bien este movimiento, en particular a través del trabajo de Georges Perec. Este artículo se centra en la dimensión que podría calificarse de “oulipienne” de la escritura de Vila-Matas a través del uso particular que hace con la intertextualidad y lo que llama “el impasse narrativo”. Por lo tanto, a través de este viaje, se trata de mostrar que el sistema escritural de los barceloneses es similar a un sistema de tipo oulipiense, aunque no lo reivindique como tal.Vila-Matas does not belong to the Oulipo movement, but he's an author who knows it well, especially through his knowledge of the works of Georges Perec. This article is about what could be called the "oulipian" aspect of Vila-Matas' writing, specifically what concerns his particular use of intertextuality and of what he calls the "narrative impasse". The objective ofthis analysis is to show that his system resembles an oulipian system, even if he does not claim it as such.Vila-Matas n'appartient pas au mouvement de !'Oulipo, mais c'est un auteur qui connaît bien ce mouvement, en particulier par le biais de l'oeuvre de Georges Perec. Cet article porte sur la dimension qui pourrait être qualifiée d'« oulipienne » de l'écriture de Vila-Matas à travers l'usage particulier qu'il fait de l'intertextualité et de ce qu'il nomme « l'impasse narrative». Il s'agit donc, au travers de ce parcours, de montrer que le système scriptural du Barcelonais s'apparente à un système de type oulipien, bien qu'il ne le revendique pas comme tel.peerReviewe
La autoficción en París no se acaba nunca de Enrique Vila-Matas
No full textEste trabajo pretende explorar los recursos autoficcionales del texto de Enrique Vila-Matas París no se acaba nunca (2003). Bajo la forma de una revisión irónica de los años de juventud en París, Vila- Matas pone en juego varias herramientas destinadas a romper con la mímesis de lo real. De este modo, el texto se sitúa tanto en la línea de la autoficción como en la de otros textos del mismo autor en los que realidad y literatura son totalmente interdependientes.This work seeks to explore the autofictional elements of Enrique Vila-Matas novel París no se acaba nunca (2003). In the form of an ironic review of his youth in Paris, the author makes use of several devices destined to fracture the mimesis of reality. Thus, the text is both in the line of autofiction as well as in the line of other texts from the same author in which reality and literature are completely interdependent.Aquest treball pretén explorar els recursos autoficcionals del text d'Enrique Vila-Matas París no se acaba nunca (2003). Sota la forma d'una revisió irónica dels anys de joventut en París, Vila-Matas posa en joc diverses ferramentes destinades a trencar amb la mimesi del que és real. D'aquesta manera, el text es situa tant en la línea de l'autoficció com en la d'altres textos del mateix autor en els que la realitat i la literatura són totalment independents.Lan honek Enrique Vila-Matasen París no se acaba nunca (2003) testuaren errekurtso autofikzionalak aztetzea du helburu. Parisen pasatako gazte garaiko urteen berrikuste ironiko baten formapean, Vila-Matas errealitatearen mimesiarekin hausteko hainbat tresnaz baliatzen da. Honela, testu hau bi ildotan kokatzen da: bai autofikzioaren ildoan, baita idazle beraren beste testu batzuen ildoan ere, non errealitatea eta literatura elkarren mendekoak diren
La autoficción en París no se acaba nunca de Enrique Vila-Matas
No full textEste trabajo pretende explorar los recursos autoficcionales del texto de Enrique Vila-Matas París no se acaba nunca (2003). Bajo la forma de una revisión irónica de los años de juventud en París, Vila- Matas pone en juego varias herramientas destinadas a romper con la mímesis de lo real. De este modo, el texto se sitúa tanto en la línea de la autoficción como en la de otros textos del mismo autor en los que realidad y literatura son totalmente interdependientes.This work seeks to explore the autofictional elements of Enrique Vila-Matas novel París no se acaba nunca (2003). In the form of an ironic review of his youth in Paris, the author makes use of several devices destined to fracture the mimesis of reality. Thus, the text is both in the line of autofiction as well as in the line of other texts from the same author in which reality and literature are completely interdependent.Aquest treball pretén explorar els recursos autoficcionals del text d'Enrique Vila-Matas París no se acaba nunca (2003). Sota la forma d'una revisió irónica dels anys de joventut en París, Vila-Matas posa en joc diverses ferramentes destinades a trencar amb la mimesi del que és real. D'aquesta manera, el text es situa tant en la línea de l'autoficció com en la d'altres textos del mateix autor en els que la realitat i la literatura són totalment independents.Lan honek Enrique Vila-Matasen París no se acaba nunca (2003) testuaren errekurtso autofikzionalak aztetzea du helburu. Parisen pasatako gazte garaiko urteen berrikuste ironiko baten formapean, Vila-Matas errealitatearen mimesiarekin hausteko hainbat tresnaz baliatzen da. Honela, testu hau bi ildotan kokatzen da: bai autofikzioaren ildoan, baita idazle beraren beste testu batzuen ildoan ere, non errealitatea eta literatura elkarren mendekoak diren
Pulmonary Vein Isolation as a Treatment of Choice for Atrial Fibrillation in General Hospital Zadar for Period from 2018 to 2022
No full textHemokultura ostaje najbolji pristup za identifikaciju inkriminirajućih mikroorganizama kada se sumnja na infekciju krvotoka i za jamstvo da je antimikrobno liječenje odgovarajuće. Posljednjih godina napravljena su velika poboljšanja kako bi se povećala osjetljivost i specifičnost i smanjilo vrijeme za identifikaciju mikroorganizama izdvojenih iz hemokultura. Kod nekih infekcija, uzročnici se samo povremeno nalaze u krvi, pa se može provesti serija od tri ili više hemokultura, kao i vađenja krvi iz različitih vena, kako bi se povećala mogućnost pronalaska infekcije. Hemokulture se inkubiraju nekoliko dana prije nego što se prijave kao negativne. Neke vrste bakterija i gljivica rastu sporije od drugih i/ili im treba više vremena da se otkriju ako su u početku prisutne u malom broju. Pozitivan rezultat hemokulture ukazuje na to da su u krvi pronađene bakterije (bakterijemija). Druge vrste patogena, poput gljivica ili virusa, također se mogu naći u hemokulturi. Kada je hemokultura pozitivna, identificira se specifični mikrob koji uzrokuje infekciju i provodi se testiranje osjetljivosti kako bi se obavijestio zdravstveni djelatnik koji će antibiotici ili drugi lijekovi najvjerojatnije biti učinkoviti za liječenje. Važno je da medicinske sestre pamte da kada se prime nove narudžbe i za antibiotike i za hemokulturu, da se antibiotici ne smiju davati prije nego se uzmu uzorci za hemokulture. Primjena antibiotika kao empirijske terapije prije uzimanja uzorka hemokulture može utjecat na rezultate pretrage, kao i na primjenu neodgovarajuće antimikrobne terapije koja može utjecati na ishod liječenja (produljeni boravak ili smrtni ishod). Cilj ovog rada je prikazati ulogu medicinske sestra na osiguranju kvalitete rezultata pretrage hemokultura, te prikazati rezultate Službe mikrobiologije i parazitologije vezane uz praćenje vrijednosti indikatora kvalitete u predanalitičkoj fazi za uzorke hemokultura uzorkovanih u Općoj bolnici Zadar (OB Zadar) u razdoblju od 01.01.2022. do 31.12.2022.Blood culture remains the best approach to identify the incriminating microorganisms when a bloodstream infection is suspected, and to guarantee that the antimicrobial treatment is adequate. Major improvements have been made in the last years to increase the sensitivity and specificity and to reduce the time to identification of microorganisms recovered from blood cultures.In some infections, the causative agents are only occasionally found in the blood, so a series of three or more blood cultures, as well as blood draws from different veins, can be performed to increase the chance of finding the infection. Blood cultures are incubated for several days before being reported as negative. Some types of bacteria and fungi grow more slowly than others and/or take longer to be detected if initially present in small numbers. A positive result indicates that bacteria were found in the blood (bacteremia). Other types of pathogens, such as fungi or viruses, may also be found in the blood culture. When a blood culture is positive, the specific microbe causing the infection is identified and susceptibility testing is performed to inform the healthcare professional which antibiotics or other drugs are most likely to be effective for treatment. It is important for nurses to remember that when new orders for both antibiotics and blood cultures are received, antibiotics should not be given before blood cultures are taken. The use of antibiotics as empiric therapy before taking a blood culture sample can affect test results, as well as the use of inappropriate antimicrobial therapy that can affect the outcome of treatment (prolonged stay or death). Administering antibiotics prior to taking a blood culture will affect the results and adversely affect the treatment plan. The aim of this paper is to show how the nurse is responsible for the pre-analytical phase of blood culture testing and how her knowledge and skills can influence the quality of blood culture test results. The method of preparing the space, accessories and the patient himself when taking the test, as well as proper storage and transportation, will be explained
Borges and Piglia as “intellectual dynasties” in the essays of Vila-Matas
No full textEl presente trabajo pretende poner en evidencia el predicamento poético que se sustrae de la lectura de la obra de Vila-Matas, con especial particularidad en su naturaleza ensayística, en relación a las polifacéticas influencias de Borges y Piglia. Ambos autores concentran, en efecto, el paradigma de origen
latinoamericano más reconocible en torno a los puntos de fuga de desarrollo metacrítico, modos de lectura y engranaje técnico-literario en Vila-Matas. Es por ello que aprecio en Borges y Piglia una suerte de “dinastías intelectuales” en un autor que, como ocurre en el caso de Vila-Matas, es quizá por encima de todo un escritor de escritores o un escritor de literaturas que trata de crear siempre su propio lector en tanto que justificación de la escritura literaria.The present work expects to highlight the poetic predicament that is subtracted from the reading of the work of Vila-Matas, with special particularity in its essayistic nature, in relation to the multifaceted influences of Borges and Piglia. Both authors concentrate, in effect, the paradigm of Latin American origin
more recognizable around the vanishing points of metacritical development, modes of reading and technical-literary gear in Vila-Matas. That is why I appreciate in Borges and Piglia a kind of “intellectual dynasties” in an author who, as in the case of Vila-Matas, is perhaps above all a writer of writers or a writer of literature that tries to create always his own reader as a justification of literary writing
Pulmonary Vein Isolation as a Treatment of Choice for Atrial Fibrillation in General Hospital Zadar for Period from 2018 to 2022
No full textHemokultura ostaje najbolji pristup za identifikaciju inkriminirajućih mikroorganizama kada se sumnja na infekciju krvotoka i za jamstvo da je antimikrobno liječenje odgovarajuće. Posljednjih godina napravljena su velika poboljšanja kako bi se povećala osjetljivost i specifičnost i smanjilo vrijeme za identifikaciju mikroorganizama izdvojenih iz hemokultura. Kod nekih infekcija, uzročnici se samo povremeno nalaze u krvi, pa se može provesti serija od tri ili više hemokultura, kao i vađenja krvi iz različitih vena, kako bi se povećala mogućnost pronalaska infekcije. Hemokulture se inkubiraju nekoliko dana prije nego što se prijave kao negativne. Neke vrste bakterija i gljivica rastu sporije od drugih i/ili im treba više vremena da se otkriju ako su u početku prisutne u malom broju. Pozitivan rezultat hemokulture ukazuje na to da su u krvi pronađene bakterije (bakterijemija). Druge vrste patogena, poput gljivica ili virusa, također se mogu naći u hemokulturi. Kada je hemokultura pozitivna, identificira se specifični mikrob koji uzrokuje infekciju i provodi se testiranje osjetljivosti kako bi se obavijestio zdravstveni djelatnik koji će antibiotici ili drugi lijekovi najvjerojatnije biti učinkoviti za liječenje. Važno je da medicinske sestre pamte da kada se prime nove narudžbe i za antibiotike i za hemokulturu, da se antibiotici ne smiju davati prije nego se uzmu uzorci za hemokulture. Primjena antibiotika kao empirijske terapije prije uzimanja uzorka hemokulture može utjecat na rezultate pretrage, kao i na primjenu neodgovarajuće antimikrobne terapije koja može utjecati na ishod liječenja (produljeni boravak ili smrtni ishod). Cilj ovog rada je prikazati ulogu medicinske sestra na osiguranju kvalitete rezultata pretrage hemokultura, te prikazati rezultate Službe mikrobiologije i parazitologije vezane uz praćenje vrijednosti indikatora kvalitete u predanalitičkoj fazi za uzorke hemokultura uzorkovanih u Općoj bolnici Zadar (OB Zadar) u razdoblju od 01.01.2022. do 31.12.2022.Blood culture remains the best approach to identify the incriminating microorganisms when a bloodstream infection is suspected, and to guarantee that the antimicrobial treatment is adequate. Major improvements have been made in the last years to increase the sensitivity and specificity and to reduce the time to identification of microorganisms recovered from blood cultures.In some infections, the causative agents are only occasionally found in the blood, so a series of three or more blood cultures, as well as blood draws from different veins, can be performed to increase the chance of finding the infection. Blood cultures are incubated for several days before being reported as negative. Some types of bacteria and fungi grow more slowly than others and/or take longer to be detected if initially present in small numbers. A positive result indicates that bacteria were found in the blood (bacteremia). Other types of pathogens, such as fungi or viruses, may also be found in the blood culture. When a blood culture is positive, the specific microbe causing the infection is identified and susceptibility testing is performed to inform the healthcare professional which antibiotics or other drugs are most likely to be effective for treatment. It is important for nurses to remember that when new orders for both antibiotics and blood cultures are received, antibiotics should not be given before blood cultures are taken. The use of antibiotics as empiric therapy before taking a blood culture sample can affect test results, as well as the use of inappropriate antimicrobial therapy that can affect the outcome of treatment (prolonged stay or death). Administering antibiotics prior to taking a blood culture will affect the results and adversely affect the treatment plan. The aim of this paper is to show how the nurse is responsible for the pre-analytical phase of blood culture testing and how her knowledge and skills can influence the quality of blood culture test results. The method of preparing the space, accessories and the patient himself when taking the test, as well as proper storage and transportation, will be explained
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