Artículos de revistas sobre el tema "Tzl or HOzl"

Magnhild Bruheim: Varlset; Liv Marit Idsø og Anne Marie Seem: Midt i jakta og Liv H Willumsen: Havmannens datter. Regine Normann - et livsløp, anmeldt av Ragnhild EngelskjønTore Hoel: Trygve Gulbranssen og kritikken, anmeldt av Henning Howlid WærpHarald Bache-Wiig: Nye veier til barneboka, anmeldt av Astrid UtnesOlav Solberg: Tekst møter tekst. Kristin Lavransdatter og mellomalderen, anmeldt av Elin Stokke

Az EU közös agrárpolitikájának szabályzórendszere a kezdetekben a piaci zavarok kiszűrésére irányult. Az ezredfordulóhoz közeledve egyre inkább előtérbe kerültek a környezet-, és természetvédelmet is előtérbe hozó intézkedések is. A tájvédelmi előírások középpontjába a táj jellemző elemei kerültek. A kunhalmok több szempontból védett egyedi tájértékeink. Védelmükre viszonylag későn jelentek meg a jogi eszközök, melyek kezdeti hatékonysága is alacsony volt, a halmok állapota tovább romlott. A közösségi védelem után azonnali változás állt be a még megmaradt halmokon, ám a szankciórendszer miatt az érintett gazdálkodók esetében feszültség volt detektálható. Kutatásunk során mélyinterjúkat készítettünk az érintett gazdálkodók körében, hogy megvizsgáljuk a motivációikat, a rendelettel kapcsolatos hozzáállásukat. Az eredményeink rávilágítanak, hogy a halmok pusztulása a velük kapcsolatos ismeretek hiányának tudható be, azonban az érintettek elfogadóak a halmok védelmét, és megmaradását illetően.

En el presente artículo nos ocupamos de refranes meteorológicos y del calendario, representados en una treintena de variedades romances, que tienen como protagonista el mes de junio, ya sea solo o bien relacionado con otro (en particular, con mayo) o más meses (en este sentido, destaca una retahíla portuguesa que contiene los doce meses). En nuestro corpus de estudio, cabe señalar la atención prestada, entre otros aspectos meteorológicos, a la dicotomía entre lluvia (mal augurio) y tiempo seco (buen augurio), a los fríos tardíos, a los consejos de abrigo, a la duración del día y a la siega en tanto que labor característica del mes, como demuestra el recurrente paremiotipo «junio + hoz en (el) puño» o similares.

Napjainkban a hagyományos iskolákban a sajátos nevelési igényű tanulók inklúziója az egyik legjelentősebb oktatási kérdés, amivel szembe kell néznie mind az oktatáspolitikának, mind pedig az oktatás minden szereplőjének, nemzeti és nemzetközi szinten egyaránt. A szakemberek körében általánosan elfogadott vélemény az, hogy a megfogalmazott elvárások teljesülésének feltétele, hogy a pedagógusképzés intézményei olyan új pedagógusokat képezzenek, akik valóban képesek nevelni és tanítani az ugyanabban a tanteremben tanuló, különböző szükségletű gyerekeket és fiatalokat. Jelen tanulmány a magyar nyelven még ismeretlen ATIES, IPD és CIES vizsgáló eszközöket szándékozik bemutatni, illetve egy nemzetközi összehasonlító vizsgálat néhány tapasztalata alapján öt pedagógusképzési programot abból a szempontból megvizsgálva, hogy hol van a helye a fogyatékostani ismereteknek, aminek kapcsán külön figyelmet kap az „content infusion”, azaz a diffúz modell.

Cikkünkben az egyedi, kizárólag egy adott országban létrehozott védett természeti területi kategóriákat mutatjuk be. Ezek az 1900 és 2003 között alapított területek az IUCN-besoroláson is átestek, így teljesen hivatalosan létező kategóriák, melyek létrejötte a Föld országainak sokszínűségéből ered. Végigvesszük, hogy melyek ezek a kategóriák, hol találhatók, valamint azt is, hogy jogosultnak érezzük-e egy ilyen külön kategória létrehozását. Megvizsgáljuk az IUCN általi besorolás szerinti eloszlásukat, valamint területik nagyságát. Továbbá bemutatjuk azt is, hogy mikor és mely országokban jöttek létre ezek a kategóriák, melyből láthatjuk majd, hogy bár minden földrészen vannak egyedi besorolású területek, eloszlásuk korántsem egyforma. Végezetül kiválasztunk öt területet, melyek jellemzése képet adhat az osztályozások okairól.

En este artículo se profundiza filosóficamente en el concepto de educación personalizada tal y como fue concebido por Víctor García Hoz. Para este autor, un proceso de personalización educativa va más allá de una customización de dicho proceso. La educación personalizada tampoco equivale a un proceso de personificación, ya que la persona no puede ser, en ningún caso, resultado de un proceso. La educación personalizada busca como finalidad última ayudar a hacer efectiva la libertad personal de los estudiantes, incrementando su capacidad para dirigir la propia vida, de modo que ésta pueda convertirse en un proyecto personal. La perfección educativa que persigue la educación personalizada es que cada persona se abra a la realidad estableciendo vínculos valiosos con ella y, de esta manera, manifieste su singularidad de la forma más plena posible. Para ello, es imprescindible que la persona sea tenida en cuenta en el proceso educativo, y que la relación educativa sea, ante todo, un encuentro personal entre profesor y alumno que trascienda los vínculos meramente funcionales o instrumentales.

A többségi pedagógusoknak a sajátos nevelési igényű tanulók integrált oktatására való felkészítése számos kérdést vet fel: Milyen tanárokat kell ehhez képezni? Milyen jogokat és jogosítványokat kell a befogadó tanároknak élvezniük? Mit értünk tanári sokoldalúság alatt? Követelmény-e a tanári sokoldalúság minden tanárral szemben? (Barton, 2000) Írásunkban rávilágítunk arra, mit tettünk eddig, és mit kell a jövőben tennünk azért, hogy az intézményünkből, a Nyugat-magyarországi Egyetem Savaria Egyetemi Központból kikerülő hallgatók minden tekintetben megfeleljenek a pedagógusokkal szemben támasztott közoktatási igényeknek. E kihívások közül a sajátos nevelési igényű tanulók integrált oktatására való felkészítést kiemelve, helyi tanterveket, tantárgyi programokat elemezve, próbálunk választ adni a kérdésre.

RESUMO Neste artigo, tomo o julgamento da obra Howl [Uivo], de Allen Ginsberg, ocorrido em 1957, nos EUA, como ponto de partida para discussões sobre linguagem, levantadas durante o processo. No decorrer do julgamento, questões que concernem desde a organização e funcionamento da linguagem poética até ao que pode ser dito ou não de acordo com as imposições de uma sociedade foram colocadas em questão. Busco, neste texto, portanto, discutir algumas dessas questões suscitadas por tal debate à luz de reflexões e apontamentos propostos pelo linguista Émile Benveniste e leitores de sua obra, tais como Gérard Dessons e Henri Meschonnic.

A Balaton-felvidék sokak által ismert és kedvelt úti cél, hazánk egyik meghatározó, turisztikai szempontból jelentős térsége. Arra a kérdésre viszont, hogy pontosan hol található a tájegység, meddig tart a Balaton-felvidék, nehéz mindenki számára kielégítő választ adni. Tanulmányunkban különböző szempontok szerint vizsgáltuk, melyek azok a települések, amelyek joggal nevezhetik magukat Balaton-felvidékinek és melyek azok, amelyek csupán élvezik a kedvező földrajzi fekvésükből fakadó előnyöket. Különböző szakterületek tanulmányait és jogszabályait vetettük össze annak alapján, hogy mely helységeket sorolja a Balaton-felvidék térségébe. Összesen 12 dokumentum lehatárolásait vizsgáltuk és ábrázoltuk térképen, amelyek 150 települést érintettek. A dokumentumok alapján három különböző csoport körvonalazódott, ezért tudományos/szakspecifikus, jogszabályban rögzített és fejlesztési célú csoportokba rendeztük a településeket. A három kategóriában eltérő eredmények születtek a Balaton-felvidék határvonalait illetően, az összesítést követően azonban egy jól lehatárolható, 22 települést magába foglaló Balaton-felvidéki tömb rajzolódott ki.

A pesquisa de produtos naturais permite a descoberta de novos princípios ativos, ou ainda, a descoberta de novas atividades para extratos de plantas (amplamente utilizados pela população brasileira) e princípios ativos naturais já conhecidos. Pterogyne nitens é uma planta cuja descrição das atividades é relativamente recente e, portanto, tem no extrato bruto boa fonte para pesquisas na área de produtos naturais. Desta forma, o objetivo deste trabalho foi estudar o perfil antioxidante do extrato bruto etanólico das folhas de P. nitens e possível interferência sobre a hemólise provocada pelo radical AAPH•. No estudo da ação antioxidante das espécies estudadas, ABTS•+, DPPH•, H2O2 e HOCl, encontrou-se os valores de IC50 de 5,0 µg mL-1, 17 µg mL-1, sem ação e 3,9 µg mL-1, respectivamente, valores relativamente baixos e que indicam bom potencial antioxidante. Foram encontradas atividades pró-hemolítica e anti-hemolítica para o extrato de forma concentração-dependente. O extrato estudado mostro boa fonte de moléculas naturais com potencial de ação biológica.

Transactional memory (TM) is an intensively studied synchronisation paradigm with many proposed implementations in software and hardware, and combinations thereof. However, TM under relaxed memory, e.g., C11 (the 2011 C/C++ standard) is still poorly understood, lacking rigorous foundations that support verifiable implementations. This paper addresses this gap by developing TMS2-ra, a relaxed operational TM specification. We integrate TMS2-ra with RC11 (the repaired C11 memory model that disallows load-buffering) to provide a formal semantics for TM libraries and their clients. We develop a logic, TARO, for verifying client programs that use TMS2-ra for synchronisation. We also show how TMS2-ra can be implemented by a C11 library, TML-ra, that uses relaxed and release-acquire atomics, yet guarantees the synchronisation properties required by TMS2-ra. We benchmark TML-ra and show that it outperforms its sequentially consistent counterpart in the STAMP benchmarks. Finally, we use a simulation-based verification technique to prove correctness of TML-ra. Our entire development is supported by the Isabelle/HOL proof assistant.

Introduction: Transurethral lithotripsy (TUL) is an appropriate treatment for ureteral stones and is usually used for stones in the middle and lower part of the ureter. Different devices such as the Holmium laser, the stone basket, and the stone cone exist to prevent any fragments from retropulsion during TUL. The present study aims to compare the advantages and disadvantages of the Holmium laser, the stone basket, and the stone cone. Methods: A retrospective study was conducted from September 2016 to January 2018 comparing various TUL methods in 88 subjects with proximal ureteral calculi. The study participants were divided into 4 matched groups. The first one included 20 patients undergoing TUL with no device (group 1), the second group included 22 patients undergoing TUL while using the stone retrieval basket, the third group included 18 patients undergoing TUL while utilizing the stone cone and the fourth group included 28 patients undergoing TUL while using the Hol-YAG laser. Results: A residual stone ≥3 mm was recorded in 15.9% of the patients. The stone free rate was seen in 100%, 90.9, 83.3%, and 55% of the Holmium laser group, the retrieval basket group, the stone cone group and the no device group respectively (P=0.001). The lowest rate of surgery complications including ureteral perforation, post-operative fever, and mucosal damage between the 4 groups (P=0.003) and the highest time of surgery (P=0.001) belonged to the laser group. If we want to ignore the laser group, the success rate for lithotripsy was better in both groups with a stone retrieval device compared to the no device group, but no advantage existed between the stone basket and the stone cone. Conclusion: We can safely conclude that lasers significantly help to prevent stone migration during TUL. If we want to ignore the laser group, the success rate for lithotripsy was significantly better in both groups with a stone retrieval device compared to the no device group, but no advantage existed between the stone basket and the stone cone.

A Dráva nagy eséssel és bőséges fenékhordalékkal rendelkezik, így a medre is dinamikusan formálódik. Ezért a vízrendszert érő (antropogén) hatásokra gyors és látványos hidro-morfológiai válaszokat adhat. Célunk a Dráván található két kanyarulat fejlődésének (partépülés és hátrálás) és az azt befolyásoló indi- rekt antropogén tevékenység hatásainak a vizsgálata, geoinformatikai és dendrológiai eszközökkel. A vizsgált kanyarulatokban leszűkült a meder (22-28%-al), amely összefüggésbe hozható a horvátországi vízerőművek vízszintcsökkentő hatásával. A horvát erőművek üzemelése előtti (1975) években még a gyakori árvizek és a jelentősebb közepes vizek építették az övzátony-felszíneket. Azonban a cakoveci (1982), majd a Donja Dubrava- i (1989) vízerőművek felépítését követően a vízszintek 0,3-0,75 méterrel lecsökkentek. Ennek hatására viszont már inkább a zátonyfelszínek szárazulattá válásával növekedett az övzátony-felszínek kiterjedése. Ezek pedig beerdősültek és szigetekké vagy a parthoz simuló övzátony-sorokká alakultak át. A kavicszátonyok átformálódá- sa azonban nem egyenletesen ment végbe, ugyanis előfordultak olyan évek, amikor jelentős kiterjedésű térszínek stabilizálódtak. Például 1994-1998 között a vizsgált kanyarulatok zátonyfelszínének 14-21 %-án telepedett meg az erdő, vagy 2002-2004-ben, a 8,5-11 %-án. A partépülés ütemét a parterózió is követte. Vizsgálataink szerint a parthátrálás mértékét nagyban befolyásolják az erodálódó partszakasz tulajdonságai (hossz, magasság, sodorvo- nallal bezárt szög), illetve a vízerőművek vízjárás módosító hatása miatt elmaradó árvizek is. Mindkét vizsgált kanyarulatra jellemző, hogy fejlődésükben alapvető szerepet játszanak a zátonyfejekből képződő szigetmagok. Ezeket fejlődésük kezdeti időszakában még átfolyás választja el a stabilizált felszínű övzátony-sortól, de később ezek az átfolyások feltöltődnek vagy a vízszintek lecsökkennek, és így a szigetek hozzáforrnak az övzátonyok- hoz. Mindezekkel egyidőben a zátonyfejekhez egyre nagyobb kiterjedésű kavicszátonyok is kapcsolódnak. Az övzátony-felszínek épülése folyásirányban lefelé és oldalra is jellemző, amit jelentősen befolyásol a sodorvonal helyzete is. Ahogy a kanyarulat egyre fejlettebbé válik, az övzátony-felszín középső szakasza kezd dinamikus épülésbe. Ilyenkor a folyásirány felöli felső része már pusztul, míg folyásirányba lefelé épül, ezért lefelé halad a kanyarulat.

O objetivo desse estudo foi avaliar o ciclo de vida e a competição de Ocotea odorifera (Vell.) Rohwer em Floresta Ombrófila Mista. Foram selecionadas árvores do sub-bosque e emergentes na Floresta Nacional de Chapecó, SC. Foram mensurados o diâmetro, projeção de copa e altura total de cada árvore amostrada. Foram obtidas amostras com trado de incremento e analisados os anéis de crescimento, para determinação do crescimento em diâmetro. Foram calculados índices de competição e ajustados modelos hipsométricos e de crescimento para cada classe de altura (< 11 m e ≥ 11 m). Os indivíduos apresentaram idade entre 47 e 220 anos, em diâmetros de 17 a 90 cm a 1,30 m de altura (DAP). A espécie é longeva, com incremento médio de 0,42 cm ano-1. O incremento médio anual difere entre classes de altura e diâmetro, sendo menor para os indivíduos que estão sob o dossel. O índice de Glover e Hool refletiu tal condição, indicando que as árvores com menor diâmetro estão sob maior pressão de competição. A análise dos índices de competição e dos modelos de crescimento permite estabelecer um prognóstico do crescimento das árvores de O. odorifera, servindo de subsídio ao planejamento do manejo para uso comercial e/ou conservação. Palavras-chave: manejo florestal; anéis de crescimento; índice de competição. Spatial competition and growth of Ocotea odorifera (vell.) Rohwer in a remnant of Araucaria Forest ABSTRACT: The aim of this study was to evaluate the life cycle and competition of Ocotea odorifera (Vell.) Rohwer in Araucaria Forest. We selected understory and emerging trees from the Chapecó National Forest, Santa Catarina State. The diameter, crown projection and total heights of each sampled tree were measured. Samples were obtained with increment borer and the growth rings were analyzed to determine the growth in diameter. Competition indexes were calculated and hypsometric models and growth models were adjusted for each height class (< 11 m and ≥ 11 m). The individuals were aged between 47 and 220 years, in diameters from 17 to 90 cm at 1.30 m in height (DBH). It is a long-lived species, with an average increment of 0.42 cm year-1. The average annual increment differs between classes of height and diameter, being smaller for trees under the canopy. The Glover and Hool index reflected this condition, indicating that trees with a smaller diameter are under greater competition. The analysis of the competition indexes and the growth models allow to establish a prognosis of the growth of O. odorifera, serving as basis to the management planning for use and/or conservation. Keywords: forest management; growth-rings; competition index.

Desde a descoberta da Esclerose Lateral Amiotrófica (ELA) ocorre no mundo ampla busca de elementos genéticos e ambientais que possam causá-la. Com maioria de casos esporádicos, chama a atenção para possíveis causas ambientais para o desenvolvimento e a progressão da doença. Diversos trabalhos sobre perfil epidemiológico e potenciais fatores de risco para esta doença foram realizados em diferentes regiões no mundo, porém existem poucos dados na América Latina e na Amazônia, e tendo em vista esta necessidade de investigação desenvolveu-se este estudo. Para tal, foi obtida uma amostra de 31 pacientes e 29 controles que compareceram às consultas no Ambulatório do Serviço de Neurologia do Hospital Ophir Pinto de Loyola (HOL), e foram coletados dados através de questionários e de registros nos prontuários. Posteriormente foi avaliado o perfil epidemiológico destes pacientes, comparando fatores de risco entre pacientes e controles. Como resultados verificou-se que os pacientes têm perfil semelhante à literatura, porém com média de tempo para o diagnóstico maior e faixa etária de início dos sintomas mais precoce que o habitual. Não houve significância estatística para a exposição a fatores de risco entre casos e controles. Sugere-se a necessidade de estudos prospectivos futuros direcionados para cada fator de risco.

Las Instituciones de Educación Superior con financiamiento público, deben rendir cuentas al Estado Colombiano, acerca de su desempeño en la ejecución de la labor que les ha sido confiada. El medio propuesto ha sido el de los indicadores de gestión, para lo cual el Estado traza unos lineamientos generales que sirven de apoyo a decisiones gubernamentales sobre políticas en materia de educación superior, entre ellas la asignación presupuestal a las universidades. Tal como está planteado, los indicadores de gestión no obedecen a un sistema propiamente dicho, razón por la cual este artículo presenta un análisis crítico de los indicadores de gestión para la educación pública en Colombia, basado en el modelo de calidad propuesto por Arturo de la Orden Hoz, que integra el contexto, la eficiencia, la eficacia y la funcionalidad. Se concluye que los indicadores de gestión propuestos por el Estado colombiano para las universidades públicas no miden la eficacia institucional ni la pertinencia de la educación que se imparte; que son de corte netamente eficientista y el propósito fundamental de su aplicación es contar con unos elementos que guíen la toma de decisiones en materia de asignación de recursos financieros a las IES como también decidir sobre la viabilidad o inviabilidad de la permanencia de éstas en el desempeño de la función que le ha confiado el Estado.Palabras Clave: Calidad, Calidad de la educación, Evaluación, Gestión universitaria, Indicadores de Gestión.

Rare-earth elements (REEs) are in all respect a class of new contaminants that may have toxic effects on organisms and microorganisms and information on their interactions with natural ligands should be of value to predict and control their diffusion in natural environments. In the current study, we investigate interactions of tripositive cations of praseodymium, europium, holmium, and thulium with harzianic acid (H2L), a secondary metabolite produced by selected strains of fungi belonging to the Trichoderma genus. We applied the same techniques and workflow previously employed in an analogous study concerning lanthanum, neodymium, samarium, and gadolinium tripositive cations. Therefore, in the current study, HPLC-ESI-HRMS experiments, circular dichroism (CD), and UV-Vis spectrophotometric absorption data, as well as accurate pH measurements, were applied to characterize bonding interactions between harzianic acid and Pr3+, Eu3+, Ho3+, and Tm3+ cations. Problems connected to the low solubility of harzianic acid in water were overcome by employing a 0.1 M NaClO4/(CH3OH + H2O 50/50 w/w) mixed solvent. For Pr3+, Ho3+, and Tm3+, only the mono complexes PrL+, HoL+, and TmL+ were detected and their formation constant determined. Eu3+ forms almost exclusively the bis complex EuL2− for which the corresponding formation constant is reported; under our experimental conditions, the mono complex EuL+ is irrelevant. Combining the results of the present and previous studies, a picture of interactions of harzianic acid with rare-earth cations extending over 8 of the 17 REEs can be composed. In order to complement chemical information with toxicological information, a battery of bioassays was applied to evaluate the effects of praseodymium, europium, holmium, and thulium tripositive cations on a suite of bioindicators including Aliivibrio fischeri (Gram-negative bacterium), Raphidocelis subcapitata (green alga), and Daphnia magna (microcrustacean), and median effective concentration (EC50) values of Pr3+, Eu3+, Ho3+, and Tm3+ for the tested species were assessed.

NB: Artiklen er på dansk, kun resuméet er på engelsk. In the shape of a posthumous letter addressed to the Norwegian novelist, critic and editor Sigurd Hoel (1890-1960), the author’s personal mentor in his youth, this essay polemicizes against reductionist views of Hoel as a kind of neurotic reactionary. His achievement and his intellectual anabolism with Danish cultural life from the 1920s to the 1960s are reconstructed via newly found letters to three Danish correspondents: the artist Anton Hansen (1891-1960) and the writers Johannes V. Jensen (1873-1950) and Tom Kristensen (1893-1974), the first critic to fully appreciate Hoel’s art (in the daily Politiken). Sketching the Danish reception of Hoel, the essay aspires to a more just evaluation of him as a libertarian, anti-totalitarian cultural critic. An epilogue discusses the use of letters as a historical source and as a key to understanding how – in the words of the French critic Tzvetan Todorov – ”context becomes text”.

Objetivo: refletir sobre temas cruciais do cuidar em sa�de e da pr�tica de enfermagem sob a lente do soci�logo Zygmunt Bauman e do paradigma p�s-moderno descrito em suas obras. M�todo: estudo te�rico-reflexivo baseado no fichamento de livros de autoria de Zygmunt Bauman, complementados com conclus�es e formula��es de outros estudos. Resultados: as tem�ticas examinadas foram o amor, amor-pr�prio, redes de apoio, desgaste dos la�os humanos, atri��o com sistemas de cuidado tradicionais, refugo humano, volatilidade das posi��es sociais, no mercado de trabalho e identidade. Seguindo uma linha de pensamento intelig�vel, foram desenvolvidas ao longo de tr�s eixos de discuss�o: �Dilemas da fragilidade dos la�os humanos e breves paralelismos com o cuidar em sa�de�; �Antigo dilema l�quido dos refugados e dos sistemas de cuidado: necessidade das teorias hol�sticas�; e �Regime de crise e dilemas na configura��o te�rico-s�cio-identit�ria do trabalho de enfermagem�. Conclus�o: Bauman analisa extensivamente e com pessimismo a p�s-modernidade, reafirmando-a como desgastada em diversos �mbitos. O cuidar de enfermagem encontra incalcul�veis barreiras diante da desvaloriza��o dos v�nculos, decerto valorizar, resgatando teorias hol�sticas de enfermagem, s�o os mecanismos para lutar contra tal contexto, culminando em uma �rdua, fundamental e permanente configura��o te�rico-s�cio-identit�ria da enfermagem na p�s-modernidade.

Introducción: La diabetes mellitus es un problema de salud pública que ocasiona afecciones biopsicosociales en los individuos que la padecen, conllevando a la necesidad de valorar aspectos que pueden incidir en su compensación tal como la autoeficacia y la satisfacción usuaria. Materiales y métodos: Se desarrolló una investigación cuantitativa de tipo correlacional que tuvo como referente el Modelo de Promoción de la Salud, y que incluyó por muestreo aleatorio simple a 86 individuos con diabetes mellitus tipo 2, en quienes se pudo establecer su perfil, percepción de autoeficacia y satisfacción usuaria a través del instrumento para la evaluación de autoeficacia en Diabetes tipo 2 (alfa de Cronbach de 0,85) y el PACIC(Patient Assessment of Chronic Illness Care) (alfa de Cronbach de 0,88). Resultados: Los usuarios en su mayoría son mujeres (65%), en etapa de adulto medio (65,1%), se perciben como autoeficaces(82,6%) y muestran satisfacción por el servicio ofrecido(76,7%), presentando descompensación metabólica (57%). Se pudo apreciar asociación entre la autoeficacia y el grupo etario (p=0,002), contar con pareja (p=0,029), la hemoglobina glicosilada (p=0,007) y el estado cognitivo de los adultos mayores (p=0,017), al igual que entre la satisfacción y el grupo etario (p=0,033), el sexo (<0,001), y la situación laboral (p=0,005). Discusión: El perfil establecido coincide con el reportado en otras publicaciones. La autoeficacia y satisfacción usuaria son aspectos que se relacionan con la compensación de los usuarios. Conclusiones: Se requiere potenciar aspectos como la autoeficacia y la satisfacción usuaria, siendo pertinente la aplicación del Modelo de Promoción de la Salud. Como citar este artículo: Fernández-Silva Carlos Alberto, Antiñirre Mansilla Betty, De La Hoz Chávez Viviana Carolina. Autoeficacia y satisfacción de los usuarios con diabetes tipo 2 de un centro de salud chileno. Revista Cuidarte. 2020; 11(2): e933. http://dx.doi.org/10.15649/cuidarte.933

augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audiophiles who posit they were musically and sonically augmented by speeding up—increasing the tempo and pitch. This article documents the promulgation of myth in the life and music of Robert Johnson. His disputed photographic images are cited as archetypal contested artefacts, augmented both by false claims and genuine new discoveries—some of which suggest Johnson’s cultural magnetism is so compelling that even items only tenuously connected to his work draw significant attention. Current challenges to the musical integrity of Johnson’s original recordings, that they were “augmented” in order to raise the tempo, are presented as exemplars of our on-going fascination with his life and work. Part literature review, part investigative history, it uses the phenomenon of augmentation as a prism to shed new light on this enigmatic figure. Johnson’s obscurity during his lifetime, and for twenty-three years after his demise in 1938, offered little indication of his future status as a musical legend: “As far as the evolution of black music goes, Robert Johnson was an extremely minor figure, and very little that happened in the decades following his death would have been affected if he had never played a note” (Wald, Escaping xv). Such anonymity allowed those who first wrote about his music to embrace and propagate the myths that grew around this troubled character and his apparently “supernatural” genius. Johnson’s first press notice, from a pseudonymous John Hammond writing in The New Masses in 1937, spoke of a mysterious character from “deepest Mississippi” who “makes Leadbelly sound like an accomplished poseur” (Prial 111). The following year Hammond eulogised the singer in profoundly romantic terms: “It still knocks me over when I think of how lucky it is that a talent like his ever found its way to phonograph records […] Johnson died last week at precisely the moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall” (19). The visceral awe experienced by subsequent generations of Johnson aficionados seems inspired by the remarkable capacity of his recordings to transcend space and time, reaching far beyond their immediate intended audience. “Johnson’s music changed the way the world looked to me,” wrote Greil Marcus, “I could listen to nothing else for months.” The music’s impact originates, at least in part, from the ambiguity of its origins: “I have the feeling, at times, that the reason Johnson has remained so elusive is that no one has been willing to take him at his word” (27-8). Three decades later Bob Dylan expressed similar sentiments over seven detailed pages of Chronicles: From the first note the vibrations from the loudspeaker made my hair stand up … it felt like a ghost had come into the room, a fearsome apparition …When he sings about icicles hanging on a tree it gives me the chills, or about milk turning blue … it made me nauseous and I wondered how he did that … It’s hard to imagine sharecroppers or plantation field hands at hop joints, relating to songs like these. You have to wonder if Johnson was playing for an audience that only he could see, one off in the future. (282-4) Such ready invocation of the supernatural bears witness to the profundity and resilience of the “lost bluesman” as a romantic trope. Barry Lee Pearson and Bill McCulloch have produced a painstaking genealogy of such a-historical misrepresentation. Early contributors include Rudi Blesch, Samuel B Charters, Frank Driggs’ liner notes for Johnson’s King of the Delta Blues Singers collection, and critic Pete Welding’s prolific 1960s output. Even comparatively recent researchers who ostensibly sought to demystify the legend couldn’t help but embellish the narrative. “It is undeniable that Johnson was fascinated with and probably obsessed by supernatural imagery,” asserted Robert Palmer (127). For Peter Guralnick his best songs articulate “the debt that must be paid for art and the Faustian bargain that Johnson sees at its core” (43). Contemporary scholarship from Pearson and McCulloch, James Banninghof, Charles Ford, and Elijah Wald has scrutinised Johnson’s life and work on a more evidential basis. This process has been likened to assembling a complicated jigsaw where half the pieces are missing: The Mississippi Delta has been practically turned upside down in the search for records of Robert Johnson. So far only marriage application signatures, two photos, a death certificate, a disputed death note, a few scattered school documents and conflicting oral histories of the man exist. Nothing more. (Graves 47) Such material is scrappy and unreliable. Johnson’s marriage licenses and his school records suggest contradictory dates of birth (Freeland 49). His death certificate mistakes his age—we now know that Johnson inadvertently founded another rock myth, the “27 Club” which includes fellow guitarists Brian Jones, Jimi Hendrix and Kurt Cobain (Wolkewitz et al., Segalstad and Hunter)—and incorrectly states he was single when he was twice widowed. A second contemporary research strand focuses on the mythmaking process itself. For Eric Rothenbuhler the appeal of Johnson’s recordings lies in his unique “for-the-record” aesthetic, that foreshadowed playing and song writing standards not widely realised until the 1960s. For Patricia Schroeder Johnson’s legend reveals far more about the story-tellers than it does the source—which over time has become “an empty center around which multiple interpretations, assorted viewpoints, and a variety of discourses swirl” (3). Some accounts of Johnson’s life seem entirely coloured by their authors’ cultural preconceptions. The most enduring myth, Johnson’s “crossroads” encounter with the Devil, is commonly redrawn according to the predilections of those telling the tale. That this story really belongs to bluesman Tommy Johnson has been known for over four decades (Evans 22), yet it was mistakenly attributed to Robert as recently as 1999 in French blues magazine Soul Bag (Pearson and McCulloch 92-3). Such errors are, thankfully, becoming less common. While the movie Crossroads (1986) brazenly appropriated Tommy’s story, the young walking bluesman in Oh, Brother, Where Art Thou? (2000) faithfully proclaims his authentic identity: “Thanks for the lift, sir. My name's Tommy. Tommy Johnson […] I had to be at that crossroads last midnight. Sell my soul to the devil.” Nevertheless the “supernatural” constituent of Johnson’s legend remains an irresistible framing device. It inspired evocative footage in Peter Meyer’s Can’t You Hear the Wind Howl? The Life and Music of Robert Johnson (1998). Even the liner notes to the definitive Sony Music Robert Johnson: The Centennial Edition celebrate and reclaim his myth: nothing about this musician is more famous than the word-of-mouth accounts of him selling his soul to the devil at a midnight crossroads in exchange for his singular mastery of blues guitar. It has become fashionable to downplay or dismiss this account nowadays, but the most likely source of the tale is Johnson himself, and the best efforts of scholars to present this artist in ordinary, human terms have done little to cut through the mystique and mystery that surround him. Repackaged versions of Johnson’s recordings became available via Amazon.co.uk and Spotify when they fell out of copyright in the United Kingdom. Predictable titles such as Contracted to the Devil, Hellbound, Me and the Devil Blues, and Up Jumped the Devil along with their distinctive “crossroads” artwork continue to demonstrate the durability of this myth [1]. Ironically, Johnson’s recordings were made during an era when one-off exhibited artworks (such as his individual performances of music) first became reproducible products. Walter Benjamin famously described the impact of this development: that which withers in the age of mechanical reproduction is the aura of the work of art […] the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence. (7) Marybeth Hamilton drew on Benjamin in her exploration of white folklorists’ efforts to document authentic pre-modern blues culture. Such individuals sought to preserve the intensity of the uncorrupted and untutored black voice before its authenticity and uniqueness could be tarnished by widespread mechanical reproduction. Two artefacts central to Johnson’s myth, his photographs and his recorded output, will now be considered in that context. In 1973 researcher Stephen LaVere located two pictures in the possession of his half–sister Carrie Thompson. The first, a cheap “dime store” self portrait taken in the equivalent of a modern photo booth, shows Johnson around a year into his life as a walking bluesman. The second, taken in the Hooks Bros. studio in Beale Street, Memphis, portrays a dapper and smiling musician on the eve of his short career as a Vocalion recording artist [2]. Neither was published for over a decade after their “discovery” due to fears of litigation from a competing researcher. A third photograph remains unpublished, still owned by Johnson’s family: The man has short nappy hair; he is slight, one foot is raised, and he is up on his toes as though stretching for height. There is a sharp crease in his pants, and a handkerchief protrudes from his breast pocket […] His eyes are deep-set, reserved, and his expression forms a half-smile, there seems to be a gentleness about him, his fingers are extraordinarily long and delicate, his head is tilted to one side. (Guralnick 67) Recently a fourth portrait appeared, seemingly out of nowhere, in Vanity Fair. Vintage guitar seller Steven Schein discovered a sepia photograph labelled “Old Snapshot Blues Guitar B. B. King???” [sic] while browsing Ebay and purchased it for $2,200. Johnson’s son positively identified the image, and a Houston Police Department forensic artist employed face recognition technology to confirm that “all the features are consistent if not identical” (DiGiacomo 2008). The provenance of this photograph remains disputed, however. Johnson’s guitar appears overly distressed for what would at the time be a new model, while his clothes reflect an inappropriate style for the period (Graves). Another contested “Johnson” image found on four seconds of silent film showed a walking bluesman playing outside a small town cinema in Ruleville, Mississippi. It inspired Bob Dylan to wax lyrical in Chronicles: “You can see that really is Robert Johnson, has to be – couldn’t be anyone else. He’s playing with huge, spiderlike hands and they magically move over the strings of his guitar” (287). However it had already been proved that this figure couldn’t be Johnson, because the background movie poster shows a film released three years after the musician’s death. The temptation to wish such items genuine is clearly a difficult one to overcome: “even things that might have been Robert Johnson now leave an afterglow” (Schroeder 154, my italics). Johnson’s recordings, so carefully preserved by Hammond and other researchers, might offer tangible and inviolate primary source material. Yet these also now face a serious challenge: they run too rapidly by a factor of up to 15 per cent (Gibbens; Wilde). Speeding up music allowed early producers to increase a song’s vibrancy and fit longer takes on to their restricted media. By slowing the recording tempo, master discs provided a “mother” print that would cause all subsequent pressings to play unnaturally quickly when reproduced. Robert Johnson worked for half a decade as a walking blues musician without restrictions on the length of his songs before recording with producer Don Law and engineer Vincent Liebler in San Antonio (1936) and Dallas (1937). Longer compositions were reworked for these sessions, re-arranging and edited out verses (Wald, Escaping). It is also conceivable that they were purposefully, or even accidentally, sped up. (The tempo consistency of machines used in early field recordings across the South has often been questioned, as many played too fast or slow (Morris).) Slowed-down versions of Johnson’s songs from contributors such as Angus Blackthorne and Ron Talley now proliferate on YouTube. The debate has fuelled detailed discussion in online blogs, where some contributors to specialist audio technology forums have attempted to decode a faintly detectable background hum using spectrum analysers. If the frequency of the alternating current that powered Law and Liebler’s machine could be established at 50 or 60 Hz it might provide evidence of possible tempo variation. A peak at 51.4 Hz, one contributor argues, suggests “the recordings are 2.8 per cent fast, about half a semitone” (Blischke). Such “augmentation” has yet to be fully explored in academic literature. Graves describes the discussion as “compelling and intriguing” in his endnotes, concluding “there are many pros and cons to the argument and, indeed, many recordings over the years have been speeded up to make them seem livelier” (124). Wald ("Robert Johnson") provides a compelling and detailed counter-thesis on his website, although he does acknowledge inconsistencies in pitch among alternate master takes of some recordings. No-one who actually saw Robert Johnson perform ever called attention to potential discrepancies between the pitch of his natural and recorded voice. David “Honeyboy” Edwards, Robert Lockwood Jr. and Johnny Shines were all interviewed repeatedly by documentarians and researchers, but none ever raised the issue. Conversely Johnson’s former girlfriend Willie Mae Powell was visibly affected by the familiarity in his voice on hearing his recording of the tune Johnson wrote for her, “Love in Vain”, in Chris Hunt’s The Search for Robert Johnson (1991). Clues might also lie in the natural tonality of Johnson’s instrument. Delta bluesmen who shared Johnson’s repertoire and played slide guitar in his style commonly used a tuning of open G (D-G-D-G-B-G). Colloquially known as “Spanish” (Gordon 2002, 38-42) it offers a natural home key of G major for slide guitar. We might therefore expect Johnson’s recordings to revolve around the tonic (G) or its dominant (D) -however almost all of his songs are a full tone higher, in the key of A or its dominant E. (The only exceptions are “They’re Red Hot” and “From Four Till Late” in C, and “Love in Vain” in G.) A pitch increase such as this might be consistent with an increase in the speed of these recordings. Although an alternative explanation might be that Johnson tuned his strings particularly tightly, which would benefit his slide playing but also make fingering notes and chords less comfortable. Yet another is that he used a capo to raise the key of his instrument and was capable of performing difficult lead parts in relatively high fret positions on the neck of an acoustic guitar. This is accepted by Scott Ainslie and Dave Whitehill in their authoritative volume of transcriptions At the Crossroads (11). The photo booth self portrait of Johnson also clearly shows a capo at the second fret—which would indeed raise open G to open A (in concert pitch). The most persuasive reasoning against speed tampering runs parallel to the argument laid out earlier in this piece, previous iterations of the Johnson myth have superimposed their own circumstances and ignored the context and reality of the protagonist’s lived experience. As Wald argues, our assumptions of what we think Johnson ought to sound like have little bearing on what he actually sounded like. It is a compelling point. When Son House, Skip James, Bukka White, and other surviving bluesmen were “rediscovered” during the 1960s urban folk revival of North America and Europe they were old men with deep and resonant voices. Johnson’s falsetto vocalisations do not, therefore, accord with the commonly accepted sound of an authentic blues artist. Yet Johnson was in his mid-twenties in 1936 and 1937; a young man heavily influenced by the success of other high pitched male blues singers of his era. people argue that what is better about the sound is that the slower, lower Johnson sounds more like Son House. Now, House was a major influence on Johnson, but by the time Johnson recorded he was not trying to sound like House—an older player who had been unsuccessful on records—but rather like Leroy Carr, Casey Bill Weldon, Kokomo Arnold, Lonnie Johnson, and Peetie Wheatstraw, who were the big blues recording stars in the mid–1930s, and whose vocal styles he imitated on most of his records. (For example, the ooh-well-well falsetto yodel he often used was imitated from Wheatstraw and Weldon.) These singers tended to have higher, smoother voices than House—exactly the sound that Johnson seems to have been going for, and that the House fans dislike. So their whole argument is based on the fact that they prefer the older Delta sound to the mainstream popular blues sound of the 1930s—or, to put it differently, that their tastes are different from Johnson’s own tastes at the moment he was recording. (Wald, "Robert Johnson") Few media can capture an audible moment entirely accurately, and the idea of engineering a faithful reproduction of an original performance is also only one element of the rationale for any recording. Commercial engineers often aim to represent the emotion of a musical moment, rather than its totality. John and Alan Lomax may have worked as documentarians, preserving sound as faithfully as possible for the benefit of future generations on behalf of the Library of Congress. Law and Liebler, however, were producing exciting and profitable commercial products for a financial gain. Paradoxically, then, whatever the “real” Robert Johnson sounded like (deeper voice, no mesmeric falsetto, not such an extraordinarily adept guitar player, never met the Devil … and so on) the mythical figure who “sold his soul at the crossroads” and shipped millions of albums after his death may, on that basis, be equally as authentic as the original. Schroeder draws on Mikhail Bakhtin to comment on such vacant yet hotly contested spaces around the Johnson myth. For Bakhtin, literary texts are ascribed new meanings by consecutive generations as they absorb and respond to them. Every age re–accentuates in its own way the works of its most immediate past. The historical life of classic works is in fact the uninterrupted process of their social and ideological re–accentuation [of] ever newer aspects of meaning; their semantic content literally continues to grow, to further create out of itself. (421) In this respect Johnson’s legend is a “classic work”, entirely removed from its historical life, a free floating form re-contextualised and reinterpreted by successive generations in order to make sense of their own cultural predilections (Schroeder 57). As Graves observes, “since Robert Johnson’s death there has seemed to be a mathematical equation of sorts at play: the less truth we have, the more myth we get” (113). The threads connecting his real and mythical identity seem so comprehensively intertwined that only the most assiduous scholars are capable of disentanglement. Johnson’s life and work seem destined to remain augmented and contested for as long as people want to play guitar, and others want to listen to them. Notes[1] Actually the dominant theme of Johnson’s songs is not “the supernatural” it is his inveterate womanising. Almost all Johnson’s lyrics employ creative metaphors to depict troubled relationships. Some even include vivid images of domestic abuse. In “Stop Breakin’ Down Blues” a woman threatens him with a gun. In “32–20 Blues” he discusses the most effective calibre of weapon to shoot his partner and “cut her half in two.” In “Me and the Devil Blues” Johnson promises “to beat my woman until I get satisfied”. However in The Lady and Mrs Johnson five-time W. C. Handy award winner Rory Block re-wrote these words to befit her own cultural agenda, inverting the original sentiment as: “I got to love my baby ‘til I get satisfied”.[2] The Gibson L-1 guitar featured in Johnson’s Hooks Bros. portrait briefly became another contested artefact when it appeared in the catalogue of a New York State memorabilia dealership in 2006 with an asking price of $6,000,000. The Australian owner had apparently purchased the instrument forty years earlier under the impression it was bona fide, although photographic comparison technology showed that it couldn’t be genuine and the item was withdrawn. “Had it been real, I would have been able to sell it several times over,” Gary Zimet from MIT Memorabilia told me in an interview for Guitarist Magazine at the time, “a unique item like that will only ever increase in value” (Stewart 2010). References Ainslie, Scott, and Dave Whitehall. Robert Johnson: At the Crossroads – The Authoritative Guitar Transcriptions. Milwaukee: Hal Leonard Publishing, 1992. Bakhtin, Mikhail M. The Dialogic Imagination. Austin: University of Texas Press, 1982. Banks, Russell. “The Devil and Robert Johnson – Robert Johnson: The Complete Recordings.” The New Republic 204.17 (1991): 27-30. Banninghof, James. “Some Ramblings on Robert Johnson’s Mind: Critical Analysis and Aesthetic in Delta Blues.” American Music 15/2 (1997): 137-158. 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Crossroads: The Life and Afterlife of Blues Legend Robert Johnson. Spokane: Demers Books, 2008. Guralnick, Peter. Searching for Robert Johnson: The Life and Legend of the "King of the Delta Blues Singers". London: Plume, 1998. Hamilton, Marybeth. In Search of the Blues: Black Voices, White Visions. London: Jonathan Cape, 2007. Hammond, John. From Spirituals to Swing (Dedicated to Bessie Smith). New York: The New Masses, 1938. Johnson, Robert. “Hellbound.” Amazon.co.uk 2011. 1 Aug. 2013 ‹http://www.amazon.co.uk/Hellbound/dp/B0063S8Y4C/ref=sr_1_cc_2?s=aps&ie=UTF8&qid=1376605065&sr=1-2-catcorr&keywords=robert+johnson+hellbound›. ———. “Contracted to the Devil.” Amazon.co.uk 2002. 1 Aug. 2013. ‹http://www.amazon.co.uk/Contracted-The-Devil-Robert-Johnson/dp/B00006F1L4/ref=sr_1_cc_1?s=aps&ie=UTF8&qid=1376830351&sr=1-1-catcorr&keywords=Contracted+to+The+Devil›. ———. King of the Delta Blues Singers. Columbia Records CL1654, 1961. ———. “Me and the Devil Blues.” Amazon.co.uk 2003. 1 Aug. 2013 ‹http://www.amazon.co.uk/Me-Devil-Blues-Robert-Johnson/dp/B00008SH7O/ref=sr_1_16?s=music&ie=UTF8&qid=1376604807&sr=1-16&keywords=robert+johnson›. ———. “The High Price of Soul.” Amazon.co.uk 2007. 1 Aug. 2013 ‹http://www.amazon.co.uk/High-Price-Soul-Robert-Johnson/dp/B000LC582C/ref=sr_1_39?s=music&ie=UTF8&qid=1376604863&sr=1-39&keywords=robert+johnson›. ———. “Up Jumped the Devil.” Amazon.co.uk 2005. 1 Aug. 2013 ‹http://www.amazon.co.uk/Up-Jumped-Devil-Robert-Johnson/dp/B000B57SL8/ref=sr_1_2?s=music&ie=UTF8&qid=1376829917&sr=1-2&keywords=Up+Jumped+The+Devil›. Marcus, Greil. Mystery Train: Images of America in Rock ‘n’ Roll Music. London: Plume, 1997. Morris, Christopher. “Phonograph Blues: Robert Johnson Mastered at Wrong Speed?” Variety 2010. 1 Aug. 2013 ‹http://www.varietysoundcheck.com/2010/05/phonograph-blues-robert-johnson-mastered-at-wrong-speed.html›. Oh, Brother, Where Art Thou? DVD. Universal Pictures, 2000. Palmer, Robert. Deep Blues: A Musical and Cultural History from the Mississippi Delta to Chicago’s South Side to the World. London: Penguin Books, 1981. Pearson, Barry Lee, and Bill McCulloch. Robert Johnson: Lost and Found. Chicago: University of Illinois Press, 2003. Prial, Dunstan. The Producer: John Hammond and the Soul of American Music. New York: Farrar, Straus and Giroux, 2006. Rothenbuhler, Eric W. “For–the–Record Aesthetics and Robert Johnson’s Blues Style as a Product of Recorded Culture.” Popular Music 26.1 (2007): 65-81. Rothenbuhler, Eric W. “Myth and Collective Memory in the Case of Robert Johnson.” Critical Studies in Media Communication 24.3 (2007): 189-205. Schroeder, Patricia. Robert Johnson, Mythmaking and Contemporary American Culture (Music in American Life). Chicago: University of Illinois Press, 2004. Segalstad, Eric, and Josh Hunter. The 27s: The Greatest Myth of Rock and Roll. Berkeley: North Atlantic Books, 2009. Stewart, Jon. “Rock Climbing: Jon Stewart Concludes His Investigation of the Myths behind Robert Johnson.” Guitarist Magazine 327 (2010): 34. The Search for Robert Johnson. DVD. Sony Pictures, 1991. Talley, Ron. “Robert Johnson, 'Sweet Home Chicago', as It REALLY Sounded...” YouTube.com 2012. 1 Aug. 2013. ‹http://www.youtube.com/watch?v=LCHod3_yEWQ›. Wald, Elijah. Escaping the Delta: Robert Johnson and the Invention of the Blues. London: HarperCollins, 2005. ———. The Robert Johnson Speed Recording Controversy. Elijah Wald — Writer, Musician 2012. 1 Aug. 2013. ‹http://www.elijahwald.com/johnsonspeed.html›. Wilde, John . “Robert Johnson Revelation Tells Us to Put the Brakes on the Blues: We've Been Listening to the Immortal 'King of the Delta Blues' at the Wrong Speed, But Now We Can Hear Him as He Intended.” The Guardian 2010. 1 Aug. 2013 ‹http://www.theguardian.com/music/musicblog/2010/may/27/robert-johnson-blues›. Wolkewitz, M., A. Allignol, N. Graves, and A.G. 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