Pub Date : 2024-07-01Epub Date: 2023-03-29DOI: 10.1177/17585732231166938
Alessandra Colozza, Michele Cavaciocchi, Luigi Perna, Elena Artioli, Antonio Mazzotti, Cesare Faldini
Background: Neurological injuries are among the most reported complications of elbow arthroscopy. Several cadaveric studies have assessed the relationship between nerves and arthroscopic portals. To our knowledge, no studies evaluated the anconeus nerve. This anatomic study aimed to identify the course of the anconeus nerve and to investigate its anatomic relation with posterior elbow portals, providing useful information to preserve it during surgery.
Methods: Twelve fresh frozen elbows were dissected to isolate the radial nerve and its branch to the anconeus muscle. Distances between the anconeus nerve, olecranon tip, and lateral epicondyle were measured. Posterior, posterolateral and soft spot portals were created and their proximity to the nerve was measured.
Results: The anconeus nerve showed an average distance from the lateral epicondyle of 19.67 mm (SD 1.44 mm) and from the olecranon of 22.33 mm (SD 1.72 mm). The posterolateral portal was 1 mm medial to the nerve. The soft spot portal was located where the nerve enters the muscle.
Discussion: An important finding of this study was the closeness between the anconeus nerve and the posterolateral and soft spot portals, resulting in a high risk of nerve damage. More medial placement of the posterolateral portal may avoid anconeus nerve injury and consequent muscle denervation.
{"title":"Can elbow arthroscopic posterior portals damage the anconeus nerve? A cadaveric study.","authors":"Alessandra Colozza, Michele Cavaciocchi, Luigi Perna, Elena Artioli, Antonio Mazzotti, Cesare Faldini","doi":"10.1177/17585732231166938","DOIUrl":"10.1177/17585732231166938","url":null,"abstract":"<p><strong>Background: </strong>Neurological injuries are among the most reported complications of elbow arthroscopy. Several cadaveric studies have assessed the relationship between nerves and arthroscopic portals. To our knowledge, no studies evaluated the anconeus nerve. This anatomic study aimed to identify the course of the anconeus nerve and to investigate its anatomic relation with posterior elbow portals, providing useful information to preserve it during surgery.</p><p><strong>Methods: </strong>Twelve fresh frozen elbows were dissected to isolate the radial nerve and its branch to the anconeus muscle. Distances between the anconeus nerve, olecranon tip, and lateral epicondyle were measured. Posterior, posterolateral and soft spot portals were created and their proximity to the nerve was measured.</p><p><strong>Results: </strong>The anconeus nerve showed an average distance from the lateral epicondyle of 19.67 mm (SD 1.44 mm) and from the olecranon of 22.33 mm (SD 1.72 mm). The posterolateral portal was 1 mm medial to the nerve. The soft spot portal was located where the nerve enters the muscle.</p><p><strong>Discussion: </strong>An important finding of this study was the closeness between the anconeus nerve and the posterolateral and soft spot portals, resulting in a high risk of nerve damage. More medial placement of the posterolateral portal may avoid anconeus nerve injury and consequent muscle denervation.</p>","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"88 1","pages":"443-448"},"PeriodicalIF":1.5,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11418668/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83660184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/hir.2023.a903839
Felipe Valencia
In A Poetry of Things: The Material Lyric in Habsburg Spain, Mary E. Barnard studies poems “in which objects are endowed with agency to stage interactive performances with readers and viewers for mediating cultural and historical memory” and, more generally, poems that make “reference” to “concrete objects” in the work of four Spanish authors from the early seventeenth century (14, 129). Objects in these poets serve “as vehicles for exploring issues of moment in Philip III’s Spain: the preservation of humanist learning in the age of print; the collapse of empires, specifically of imperial Rome and implicitly of Habsburg Spain; the role of learned academies in the literary and artistic life beyond the court; the formation of subjective identities within distinct social spaces; and the role of religious objects in the tradition of spirituality of CounterReformation Spain” (13). The investment on the part of the court of Philip III (r. 1598–1621)— particularly his valido, the Duke of Lerma—in collecting and displaying lavish works of art warrants Barnard’s focus on poetry from his reign. A Poetry of Things builds upon her previous monograph, Garcilaso de la Vega and the Material Culture of
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Pub Date : 2023-06-01DOI: 10.1353/hir.2023.a903835
K. Murphy
ABSTRACT:The literary exposition of abulia in Pío Baroja’s early novels, especially La lucha por la vida trilogy, illuminates the ways in which diagnostic language from psychopathology was adapted, assimilated, and disseminated through the trajectories of fictional characters who suffer from a loss of volition. This article analyzes cultural narratives about abulia in Baroja’s early fiction, demonstrating that they constitute a resonant pathological metaphor during a period in Spain’s history defined by national introspection and regenerationist debates. By tracing metaphorical explanations for social, political, and economic circumstances conveyed through the literary appropriation of medical terminology, this study explores comparisons between abulia and the gendered and class-based associations of neurasthenia at the turn of the twentieth century. Although the assumed causes of each condition are different, this process of transposition between medicine and metaphor anticipates the contemporary social, cultural, and ideological shaping of concepts such as stress and burnout.
摘要：Pío Baroja早期小说，特别是《La lucha por La vida》三部曲中对阿布利亚的文学阐述，阐明了精神病理学中的诊断语言是如何通过失去意志的虚构人物的轨迹被改编、同化和传播的。本文分析了巴罗贾早期小说中关于阿布利亚的文化叙事，表明在西班牙历史上一个由民族内省和再生主义辩论定义的时期，它们构成了一个引起共鸣的病理隐喻。通过追踪医学术语的文学挪用所传达的对社会、政治和经济环境的隐喻性解释，本研究探讨了20世纪之交滥用与神经衰弱的性别和阶级关联之间的比较。尽管每种情况的假定原因不同，但这种医学和隐喻之间的换位过程预示着压力和倦怠等概念的当代社会、文化和意识形态塑造。
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Pub Date : 2023-06-01DOI: 10.1353/hir.2023.a903833
I. Cantón
RESUMEN:En este artículo examino los efectos de la acústica del convento de San Jerónimo en la vida y obra de sor Juana Inés de la Cruz. Con énfasis en la Respuesta a sor Filotea de la Cruz y Primero sueño, mi argumento es que la relación que sor Juana estableció con los sonidos a los que estuvo expuesta influyó en sus hábitos y su poesía, llevándola a establecer las bases de una poética en parte modelada por la experiencia acústica. En esa dirección, exploro los modos en los que esta poética dialoga y reinterpreta la tradición del silencio de la poesía místico-espiritual española del siglo XVI. Finalmente, pongo la sensibilidad acústica de sor Juana en diálogo con las preocupaciones sonoras de los intelectuales del siglo XIX con la intención de mostrar los modos en que el trabajo de sor Juana anticipó intereses y sensibilidades a menudo asociadas a la modernidad.Abstract (Lang: English):In this article, I examine the effects of the acoustics of the Convent of San Jerónimo on the life and work of Sor Juana Inés de la Cruz. With emphasis on the “Respuesta a Sor Filotea de la Cruz” y “Primero sueño”, my argument is that the relationship that Sor Juana established with the sounds to which she was exposed influenced her habits and her poetry, leading her to establish the foundations of a poetics in part shaped by the acoustic experience. Then, I explore how Sor Juana’s poetics dialogues with and reinterprets the tradition of silence in sixteenth-century Spanish mystical-spiritual poetry. Finally, I put Sor Juana’s acoustic sensibility in conversation with nineteenth-century intellectuals’ concerns about noise. I do this to show how Sor Juana’s work anticipated interests and sensibilities often associated with modernity.
摘要:本文探讨了圣杰罗姆修道院的声学对索尔·胡安娜ines de la Cruz的生活和工作的影响。重点针对妹妹Filotea十字架和第一梦想,我的观点是成立妹妹珍妮的关系与声音一直在习惯及其诗歌的影响,使之诗意奠定基础,在一方面模式化的音响体验。在这个方向上，我探索了这种诗学对话的方式，并重新诠释了16世纪西班牙神秘精神诗歌的沉默传统。最后，我将索尔·胡安娜的声音敏感性与19世纪知识分子对声音的关注进行了对话，目的是展示索尔·胡安娜的作品是如何预期与现代性相关的兴趣和敏感性的。摘要:在本文中，我考察了圣杰罗姆修道院的声学对索尔·胡安娜ines de la Cruz的生活和工作的影响。With on the侧重”回答妹妹Filotea de la Cruz”和“第一梦想“my触发,is that the relationship设立的妹妹琼接触influenced her With the sounds to which was杜habits and her poetry)行动,导致her to the基础a poetics in part 7 by the acoustic experience。然后,我探索how妹妹琼' s poetics dialogues with and reinterprets the tradition of沉默in sixteenth-century [mystical-spiritual poetry。= =地理= =根据美国人口普查，这个县的土地面积为。我这样做是为了展示索尔·胡安娜的作品是如何预期人们的兴趣和敏感性的，这些兴趣和敏感性往往与现代性有关。
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Pub Date : 2023-06-01DOI: 10.1353/hir.2023.a903838
Victoria Carpenter
ABSTRACT:The collection of poems by a supposedly long-dead Sinaloan poet Eudomóndaro Higuera (referred to in the study as “the Narrator”), Nuevas coplas y cantares del temible bardo Eudomóndaro Higuera alias el Tuerto, is an intriguing read. Compiled and annotated by Mario Bojórquez (who will be referred to as “the Editor”), it contains a strange mix of bawdy lyrics, insulting epitaphs, and soul-searching coded poems. The collection presents a challenge to the reader, who is forced to choose between the Narrator’s often simplistic writing and the Editor’s high academic analyses thereof. Using the theory of text ownership, I will analyze this contradictory combination to determine who—if anyone—controls the text of the collection. I will explore the roles of the narrator and the editor, taken up by both the Narrator and the Editor, in order to challenge the apparent parodic nature of the collection.
摘要:一本名为《Nuevas coplas y cantares del temible bardo Eudomóndaro》的诗集是锡那罗亚诗人Eudomóndaro Higuera(在研究中被称为“叙述者”)的诗集，值得一读。由马里奥Bojórquez(他将被称为“编辑”)编译和注释，它包含了一个奇怪的组合，淫秽的歌词，侮辱性的墓志铭，和灵魂探索的编码诗歌。这本选集对读者提出了一个挑战，他们被迫在叙述者通常过于简单化的写作和编辑对其进行的高度学术分析之间做出选择。使用文本所有权理论，我将分析这种矛盾的组合，以确定谁(如果有人的话)控制着集合的文本。我将探索叙述者和编辑的角色，由叙述者和编辑共同承担，以挑战文集明显的模仿性质。
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Pub Date : 2023-06-01DOI: 10.1353/hir.2023.a903840
Fiona Noble
The figure of the child has a long history in Spanish cinema, though it is only relatively recently that scholars of peninsular studies have dedicated their attention to unpacking its importance throughout the history of Spanish film. Early critical focus on this figure can be found in articles by Marsha Kinder and Isolina Ballesteros,1 who pinpoint the cinematic child’s significance as a cipher for the directors who came of age under Franco and as a historical witness, respectively. More recently, in her monograph The Child in Spanish Cinema (2013), Sarah Wright argued for the centrality of the onscreen child to cultural memory and depictions of the past, with par tic u lar reference to the Francoist period. Wright’s work traces the Spanish cinematic child from the 1950s to con temporary demo cratic Spain, charting the evolution of the child from the the allsinging, alldancing child stars of Francoist cinema (such as Marcelino and Marisol), via the child witness of the Transition and, later, within the historical memory boom (Ana Torrent; del Toro films), to the adolescents of con temporary demo cratic Spain still subject to repressive Francoist legacies (El bola; Camino). Erin Hogan’s The Two Cines con Niño: Genre and the Child Protagonist in Over Fifty Years of Spanish Film (1955–2010) (2020) considers childcenterd cinema both under Franco and in demo cratic Spain, unpacking the distinct ways in which the child figure is utilized under diverse political circumstances. With Inhabiting the InBetween: Childhood and Cinema in Spain’s Long Transition, Thomas makes a valuable contribution to the field, examining the multivalent character of the onscreen child through her focalization of this figure in the specific historical moment of the Transition. The value in Thomas’s work therefore lies not only in its sophisticated and insightful theoretical positioning of the cinematic child, but also with its wider implications for Spanish cultural studies and, in par tic u lar, the impulse to reevaluate the Transition and its legacies in the con temporary context. Inhabiting the InBetween commences with the assertion that “ Children haunt the cinema of the Spanish transition to democracy” (3) and a detailed
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Pub Date : 2023-06-01DOI: 10.1353/hir.2023.a903837
Sergio Navarro Ramírez
RESUMEN:A menudo, los monólogos dramáticos de Luis Cernuda difieren de otros usos más ortodoxos del género al no crear la suficiente distancia entre la máscara y la voz. En “Silla del rey” elige como personaje al monarca español Felipe II. La representación del rey no es perfecta, y el autor rompe a veces la máscara de Felipe II para enseñar su propio rostro a través de la introducción de comentarios metapoéticos más propios de un escritor que de un rey. Además, este personaje es un paradójico correlato de Cernuda, puesto que el rey y El Escorial eran reconocidos símbolos de la retórica franquista. En este ensayo, ayudándome de las teorías críticas de Edward Said y Hayden White, analizo “Silla del rey” y la presencia meta-poética e irónica de Cernuda en el poema para desvelar las estrategias retóricas con las que critica el discurso historiográfico franquista.Abstract (Lang: English):Luis Cernuda designs his own version of the dramatic monologue, since he does not create enough distance between his characters and his own voice. In “Silla del rey,” Cernuda chooses as a character King Philip II, who meditates in the poem on the construction of El Escorial. This representation is not perfect, and Cernuda breaks the mask of Felipe II to show his own skin, usually by expressing metapoetic musings more akin to the author than to the king. Furthermore, this character seems a paradoxical correlate to Cernuda, since the king and El Escorial were well-known symbols of an essentialist rhetoric with which Francoist historiography told Spanish history. In this essay, I read “Silla del rey” and analyze the metapoetic presence of Cernuda in Felipe II as a rhetorical strategy to undermine Francoist historiographical discourse.
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Pub Date : 2023-06-01DOI: 10.1353/hir.2023.a903841
Mercedes Mayna-Medrano
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Pub Date : 2023-06-01DOI: 10.1353/hir.2023.a903834
Patricia Vilches
ABSTRACT:This essay analyzes Alberto Blest Gana’s portrayal of masculine beauty in Rafael San Luis and Abelardo Manríquez through the lens of patriotism and social order. The divine, angelic looks of these two young characters come with a high cost. San Luis, from Martín Rivas (1862), and Manríquez, from El ideal de un calavera (1863), are exceedingly handsome but devoid of means, a fact that makes their circumstances especially harsh. They are also deeply in love with privileged, wealthy Santiago women, which causes the heroes to suffer. They challenge Chile’s capitalist social order, resist their outsider status, and follow the Weltanschauung of a pipiolo (liberal). They confront danger and fight the good fight. Yet these two brave men cannot escape past behaviors and decisions. It is their unhappy fate to lose their beautiful ladies to less attractive men, and ultimately to die in battle (San Luis) and by execution (Manríquez).
摘要：本文从爱国主义和社会秩序的角度分析了阿尔贝托·布莱斯特·加纳在《拉斐尔·圣路易斯》和《阿贝拉多·曼里克斯》中对男性美的刻画。这两个年轻角色的神圣、天使般的外表付出了高昂的代价。来自Martín Rivas（1862年）的San Luis和来自El ideal de un calavera（1863年）的Manríquez非常英俊，但缺乏手段，这一事实使他们的处境特别恶劣。他们还深深地爱上了享有特权、富有的圣地亚哥女性，这让英雄们遭受了痛苦。他们挑战智利的资本主义社会秩序，抵制他们的局外人地位，并遵循pipiolo（自由主义）的世界观。他们直面危险，打好仗。然而，这两个勇敢的人无法逃脱过去的行为和决定。他们不幸的命运是，美丽的女人被不那么有吸引力的男人夺走，最终死于战斗（圣路易斯）和处决（曼里克斯）。
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Pub Date : 2023-06-01DOI: 10.1353/hir.2023.a903836
Claudia Lora Márquez
RESUMEN:Diego de Torres Villarroel publica en 1724 un almanaque titulado Melodrama astrológica: teatro temporal y político. El opúsculo, además de granjearle notoriedad al presuntamente vaticinar en él la muerte del rey Luis I, supone uno de los primeros intentos por insertar contenidos literarios en los pronósticos astrológicos. Este artículo trata de demostrar que, frente a las teorías que ven en el “modelo literario” un hallazgo original e inesperado, Torres se inspira en ciertas fórmulas que algunos autores de su tiempo practican con éxito en otras partes de Europa, concretamente en los Estados italianos.Abstract:Diego de Torres Villarroel published in 1724 an almanac entitled Melodrama astrológica: teatro temporal y político. The chapbook, besides helping him to gain fame by having supposedly predicted the death of King Louis I, is one of his first attempts at incorporating literary content into astrological predictions. This article aims to demonstrate that, contrary to those critics who see in the “literary model” an original and fortuitous discovery, Torres is inspired by certain formulas that some other contemporary authors were successfully practicing in Europe, specifically in the Italian States.
摘要：迭戈·德·托雷斯·比利亚雷尔（Diego de Torres Villarroel）于1724年出版了一本名为《占星术情节剧：时间和政治戏剧》的年鉴。这本小册子除了因涉嫌在其中预测路易一世国王的去世而声名鹊起外，也是第一次试图将文学内容纳入占星术预测的尝试之一。本文试图证明，与在“文学模式”中看到一个原创和意想不到的发现的理论相比，托雷斯的灵感来自他那个时代的一些作家在欧洲其他地区，特别是意大利国家成功实践的某些公式。摘要：迭戈·德·托雷斯·比利亚雷尔（Diego de Torres Villarroel）于1724年出版了一本名为《占星术情节剧：时间和政治戏剧》的年鉴。这本书除了帮助他因涉嫌预测路易一世国王的死亡而声名鹊起外，也是他第一次尝试将文学内容纳入占星术预测的尝试之一。这篇文章的目的是表明，与那些在《文学模式》中看到原创和偶然发现的评论家不同，托雷斯的灵感来自某些公式，这些公式是其他当代作家在欧洲，特别是在意大利国家成功实践的。
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