RESUMO
Los artistas cubanos han dedicado obras de variados géneros para homenajear al doctor Carlos J. Finlay Barrés y su meritorio trabajo investigativo sobre la fiebre amarilla, enfermedad causante de epidemias y defunciones, en su época, en Cuba y otros países. Las artes plásticas tienen una sustancial impronta en reconocimientos al sabio, lo que hace usual su presencia en obras escultóricas del paisaje urbanístico cubano. Entre estas, se destaca por su belleza y localización, la del escultor Juan J. Sicre Vélez. Este trabajo tiene como objetivo contribuir al conocimiento de la obra escultórica dedicada por Sicre al sabio y destacar su trascendental significación para la medicina y la ciencia cubana. La escultura y su temática por su significación para la medicina y la ciencia realzan la identidad cultural de la nación cubana. Su emplazamiento en áreas del Hospital Militar Central Dr. Carlos J. Finlay, en Marianao, tiene simbolismo por ser la localidad donde Finlay desarrolló la mayor parte de las investigaciones conducentes a su teoría sobre el modo de contagio y el agente transmisor de la fiebre amarilla. La obra escultórica es también un hermoso homenaje a los médicos y trabajadores de la salud que prestan servicios médicos humanitarios en Cuba y en otros países. Por su contenido estético y temático, la escultura es un estimable recurso didáctico para desarrollar las estrategias educativas en la formación del personal de la salud(AU)
Cuban artists have dedicated works of various genres to honor Dr. Carlos J. Finlay Barrés and his meritorious investigative work on yellow fever, a disease that causes epidemics and deaths, in its time, in Cuba and other countries. The plastic arts have a substantial mark in recognizing the sage, which makes their presence usual in sculptural works of the Cuban urban landscape. Among these, the one of the sculptor Juan J. Sicre Vélez stands out for its beauty and location. This work aims to contribute to the knowledge of the sculptural work dedicated by Sicre to the sage and highlight its transcendental significance for Cuban medicine and science. The sculpture and its theme due to its significance for medicine and science enhance the cultural identity of the Cuban nation. Its location in areas of the Central Military Hospital Dr. Carlos J. Finlay, in Marianao, has symbolism for being the town where Finlay developed most of the research leading to his theory on the mode of contagion and the transmitting agent of yellow fever. The sculptural work is also a beautiful tribute to the doctors and health workers who provide humanitarian medical services in Cuba and in other countries. Due to its aesthetic and thematic content, sculpture is a valuable didactic resource to develop educational strategies in the training of health personnel(AU)
Assuntos
Humanos , Escultura , Febre Amarela , Simbolismo , Conhecimento , Medicina , Escultura/históriaRESUMO
Se presentan dos esculturas prehispánicas de la cultura azteca, la primera en forma de cráneo a la cual se le tallaron y colocaron ojos de diferentes tipos de piedra, también una dentadura completa y bien alineada hecha de jade. En la zona del occipital se distingue el grabado de un rey desconocido, el cual porta un arete, un penacho y un cetro. La segunda escultura es una charola de piedra tallada con incrustaciones de piedras preciosas de jade y rubí que muestra la imagen del mismo rey sostenida por tres personajes parcialmente desdentados padeciendo de dolor dental. Estos eventos demuestran la importancia de la salud bucal en la población prehispánica, particularmente en la cultura azteca, al igual que la relevancia de los aspectos mágicos y religiosos en torno a la muerte.
It is described a couple prehispanic carved solid stone sculptures of theAztec culture, the fi rst one with a human skull shape, with carved andmounted stone eyes, as well as a complete and fi ne lined jade denture.It is also remarked on its occipital area a fi gure of carved unknownking, wearing a mobile stone earring, a feather cap, and a cane. Thesecond stone sculpture is a carved stone plate with jade and ruby carvedmounted stones. This sculpture also shows the same mentioned kingimage, which is supported by three no complete dental (toothless) maleservants, that resemble the three men suff ering dental discomfort. Thesecouple sculpture pieces show the magical and religious aspects of themighty importance of the death to the Aztecs.
Assuntos
Humanos , Escultura/história , História da Odontologia , Indígenas Norte-Americanos/história , Crânio , Dente Artificial , Arte/história , MéxicoRESUMO
What grips us so powerfully to a work of art is the artist's intention, if he succeeds to express it in his work and we are able to understand it. Michelangelo's Moses established the essential structures of an animate organism and the embodiment of consciousness in the world. Since the body is an expressive unit, it is possible to reconstruct a highly feasible sequence of movements that might have preceded the moment caught in the statue. It is an expression of the highest ideal of mental and spiritual achievement through the controlled tension between action and restraint. The phenomenon of embodiment and feeling the body as own is the basis of concrete human existence.
Assuntos
História do Século XV , História do Século XVI , Humanos , Anatomia Artística/história , Corpo Humano , Escultura/história , Medicina nas ArtesRESUMO
This study provides historical documents of peripheral facial palsy from Egypt, Greece and Rome, through the middle ages, and the renaissance, and into the last four centuries. We believe that the history of peripheral facial palsy parallels history of the human race itself. Emphasis is made on contributions by Avicenna and Nicolaus Friedreich. Controversies about the original clinical description by Charles Bell are also discussed.
Este estudo apresenta documentos de paralisia facial periférica nas artes plásticas no Egito antigo, Grécia e Roma, Idade Média, Renascimento e também dos últimos 4 séculos. Pensamos que a história da paralisia facial periférica acompanha a história da própria espécie humana. São apresentadas as contribuições de Avicenna e Nicolaus Friedreich, e são mostradas controvérsias sobre a descrição original de Charles Bell.
Assuntos
História do Século XVI , História do Século XVII , História do Século XVIII , História do Século XIX , História Antiga , História Medieval , Humanos , Paralisia Facial/história , Medicina nas Artes , Pinturas/história , Escultura/históriaRESUMO
Se hace referencia a los síntomas y signos del dolor exterior y del sufrimiento interior del hombre, magistralmente representados en el mármol por escultores griegos de la antigua Grecia. Se demuestra la importancia de la literatura y la escultura como complemento humanístico para la enseñanza en la Cátedra de Historia de la Medicina.
It makes reference to the symptoms and signs of external pain and internal man suffering, masterly represented on marble by Greek sculptors of Ancient Greece. A demonstration of the importance of literature and sculpture as a humanistic complement for teaching History of Medicine.
Assuntos
Humanos , História Antiga , História Medieval , História do Século XV , História do Século XVI , História do Século XVII , Educação Médica , História da Medicina , Medicina nas Artes , Dor , Grécia , Humanismo , Literatura/história , Dor/diagnóstico , Dor/psicologia , Estresse Psicológico , Escultura/históriaRESUMO
The Universities of Michigan and Alexandria together with the department of Antiquities have been able to make many newcontributions to the knowledge about the New Kingdom Royal mummies including the discovery of the mummy of Queen Tiye Utilizing x-ray techniques developed for the clinical application of the orthodontist and modern computor methods, it is only a matter of time before there are other major break throughs in the study of the Royal mummies, including " exactly who was king Tutankamon?"