El envejecimiento demográfico ha generado un aumento en la prevalencia de enfermedades crónicas, discapacidades y dependencia, acompañado de una mayor soledad, especialmente en las personas mayores. Estas circunstancias derivan en múltiples necesidades físicas, sociales, emocionales y espirituales, que los sistemas de salud tradicionales no logran cubrir completamente. Ante este panorama, el modelo de cuidados paliativos basados en la comunidad surge como una solución integral para atender estas demandas. Este movimiento promueve la solidaridad y la compasión ciudadana, complementando los cuidados paliativos tradicionales y generando un impacto positivo en la calidad de vida, el bienestar y las redes de apoyo de pacientes y familias.En este contexto, nace el proyecto “Meraki: construyendo comunidades compasivas para el final de la vida”, liderado por la carrera de Terapia Ocupacional de la Universidad Central de Chile. Este proyecto, financiado por fondos de Vinculación con el Medio, busca formar equipos sociosanitarios del Servicio Nacional del Adulto Mayor (SENAMA) en la Región Metropolitana, con el fin de construir comunidades compasivas y fortalecer las redes de cuidado al final de la vida. Esta sistematización documenta la experiencia, destacando su impacto formativo y su contribución al cambio cultural en el abordaje de la muerte y el final de la vida.
A través de esta declaración, el Colegio de Terapeutas Ocupacionales de Chile establece directrices para las intervenciones de los y las terapeutas ocupacionales como prestadores de cuidados paliativos en cualquier nivel o contexto de atención, enfatizando en estas acciones el abordaje de la ocupación como una expresión de la espiritualidad, la participación como componente de la salud y la autonomía como un ejercicio de la dignidad. Además, adhiere a colaborar con el fomento y la integración de sistemas de cuidado transversales, que aborden no solo el área de salud, sino también los ámbitos sociales y comunitarios. La terapia ocupacional contribuye significativamente a mejorar la calidad de vida de las personas con enfermedades amenazantes o limitantes de la vida en todas las etapas de la enfermedad, desde el diagnóstico, las agudizaciones, los puntos de inflexión, el fin de vida y el duelo.
Este ensayo reflexiona sobre cómo el teatro fue el "ser ocupación" de la destacada actriz chilena Orietta Escámez Carrasco, a través de la sistematización del acompañamiento en su proceso de muerte. El teatro, siendo el espacio donde se desempeñaba ocupacionalmente como una práctica artística, no era solo individual, sino también un acto colectivo. Orietta personifica la relevancia de las ocupaciones colectivas en la construcción de sentido, conexión, dignidad y trascendencia en la vida y la muerte. El trabajo explora y vincula estas experiencias con el “Ikigai”, concepto japonés que significa “razón de vivir o razón de ser”, y la logoterapia de Viktor Frankl, centrada en la búsqueda de sentido. Ambos enfoques, aunque tradicionalmente individuales, son abordados desde una perspectiva colectiva, en alineación con las Terapias Ocupacionales del Sur, que destacan la ocupación como construcción multidimensional y compleja (Morin, 1999). En un contexto marcado por el envejecimiento poblacional, se destaca la urgencia de ofrecer herramientas y reflexiones que fortalezcan la práctica profesional en la atención al final de la vida, reconociendo la dignidad, identidad y derechos de cada persona como pilares fundamentales derivados de los conceptos señalados anteriormente. Esto no solo resalta la necesidad de intervenir desde una perspectiva humanitaria, sino que también invita a problematizar las prácticas profesionales, reconociendo la dimensión política de su quehacer (Oyarzún et al., 2012), y a adoptar una posición activa frente a las inequidades estructurales que afectan a muchas personas mayores que transitan los procesos de fin de vida.
Chile enfrenta un acelerado proceso de envejecimiento poblacional, caracterizado por una transición demográfica en la que disminuye la proporción de personas jóvenes y aumenta la de personas mayores. Este cambio conlleva implicancias biológicas, psicológicas, sociales y espirituales que influyen tanto en la calidad de vida de las personas mayores como en la manera en que enfrentan la muerte y el luto, desde una perspectiva cultural y gerontogeriátrica. Desde la terapia ocupacional, los rituales y simbolismos asociados al luto y la relación con las personas fallecidas se comprenden como inherentes al ser humano. La antropología, por su parte, destaca la relación entre la forma de vivir y la manera de enfrentar la muerte. En este contexto, las estructuras sociales y las desigualdades condicionan las experiencias de muerte y el acceso a recursos para afrontarla. Este ensayo analiza cómo los aspectos culturales, la espiritualidad y los determinantes sociales influyen en la vivencia del luto en las personas mayores en Chile, reconociendo la muerte como un proceso vital inevitable que atraviesa dimensiones individuales y colectivas.
Narrado en primera persona como ejercicio de “sentipensar”, el presente texto se construye en el contexto del acompañamiento a personas y colectivos históricamente excluidos en sus procesos de fin de vida, en donde me he sentido interpelada a problematizar cómo el sistema imperante produce y sostiene tanto en quienes acompaño como en mí también la urgencia de sostener el hacer y la productividad, muchas veces alienante, como elemento identitario y de valoración social. Este mandato naturalizado no nos permite detenernos y rebelarnos, dominando nuestros abordajes interventivos y nuestros discursos, en concordancia con la historia hegemónica de una terapia ocupacional, que ya no es la nuestra. “Escuchando el relato silenciado”, me pregunto si tal vez el momento del final de la vida sea de las pocas oportunidades con que contamos, en el mundo moderno que nos aplasta, para poder abrazar el valor de la inactividad y la quietud como experiencia liberadora. Bajo este escenario, la terapia ocupacional tiene una posibilidad valiosa, en tanto disciplina que abandona la urgencia de delimitar su campo, abrazando su poderosa fluidez identitaria.
La revista ContexTO, en su compromiso de generar espacios de reflexión, diálogos y visibilización de temas relevantes para la disciplina y la sociedad, presenta este número especial dedicado al cuidado al final de la vida. Este volumen busca representar la complejidad de las experiencias, saberes y perspectivas que se articulan en torno a este proceso, desde una mirada humanizada.
Este artículo presenta la sistematización de una experiencia piloto de formación de personas voluntarias en acompañamiento al final de la vida, realizada en la comuna de Cerro Navia, Chile, en 2023. El programa incluyó ocho sesiones presenciales desarrolladas por un equipo interdisciplinario, abordando cuidados paliativos, comunicación, duelo, espiritualidad, ética y el rol del voluntariado. Se aplicaron metodologías activas como role-play, análisis de casos, talleres vivenciales y espacios de reflexión colectiva, lo que favoreció un aprendizaje significativo y una alta participación. La muestra estuvo compuesta por 12 personas mayores (91,6 % mujeres; entre 62–78 años). Los resultados evidencian una elevada valoración del curso (91 % lo consideró bueno o muy bueno) y de la utilidad de los conocimientos (100 %), destacando mejoras en competencias comunicativas, preparación emocional y disposición para acompañar. La experiencia demuestra el potencial de las personas mayores como agentes activos en la construcción de comunidades compasivas.
This article proposes the analysis of the novel Texaco, published in 1992 by Martinican author Patrick Chamoiseau, with the purpose to approach a reflection about the perception the main characters of the novel have about the French and the Creole language. The objective is to extract from the work the characteristics of a linguistic domination in the French Antilles, regarding the use of one or another language. The existence of such domination is contemplated on the symbolic level, as proposed by French author Pierre Bourdieu in his work El sentido pr & aacute;ctico (2007). The concepts of stigma (Goffman, 2006) and prestige related to the use of one or another linguistic code work as a basis to understand the continuous and forced negotiation that main characters go through in their daily interaction.
: The Venezuelan diaspora has had a remarkable presence in the children's book industry. Various professionals in the fields of children's book publishing and promotion have established themselves in different countries, as well as authors and illustrators who have been included in catalogs beyond Venezuela's borders. Research on children's and young adult literature, along with academic circles, continues to engage Venezuelan experts in multiple countries. A longstanding national tradition and pioneering institutions support the training of and interest in this discipline among many professionals, along with systematic efforts to promote reading. Today, despite the adverse circumstances that have led to the forced migration of many Venezuelans, it is heartening to witness how the community of professionals abroad has grown, as well as the benefits of this expansion-such as cultural dissemination, the acquisition of new knowledge regarding the production and promotion of children's books, and the inclusion of Venezuelan creators in prestigious catalogs. This article provides a detailed overview of the contributions made by the Venezuelan diaspora across different areas within the children's book sphere, attempting to offer a thorough snapshot that highlights recent growth and a trend toward an increased presence in this sector in other parts of the world.
Modernity and postmodernity are two historical eras that keep academic discussions alive today, due to their importance in understanding the sociocultural organization of the Western world. The former was disseminated as a paradigm from the end of the 18 century to the beginning of the 20 , the latter from the midth th 20 century to the present. Therefore, we will try to approach this topic, since its th understanding is vital in the social and humanistic sciences. In this essay, we will make some approximations.
The purpose of this article is to show how the concept of 'letter', proper to the field of Lacanian psychoanalysis, allows us to make a precise reading of Yolanda Pantin's poetic work and to locate in it the possible articulations to the question about woman, in addition to distinguishing the detours around the desire to give some possible answers, which from an enunciative range is given in the work of the Venezuelan poet. The question: what is a woman? has been imposed on both psychoanalysis and poetry. The link between both fields allows us to present a renewed critical reading. The axes that will guide the analysis of the poems are the Lacanian aphorisms: "Woman does not exist" and "Sexual relation does not exist". Both can be verified in Pantin's writing in the course of this study.
Angel Rama, in his famous book La ciudad letrada (1988), states that the foundation and planning of Latin American cities corresponded to a Renaissance project, in which the spatial organization was a reflection of a hierarchical and delimited social world. This project was part of the need to establish and preserve a social structure that hid the dream of order. Thus, the cities of Hispanic America were configured as utopian projects in line with the colonizing demands that were based on a notion of progress that was the foundation of the nascent modernity. However, the urban space founded on the harmonic utopia of reason has become the cradle of chaos and a reflection of hell itself. Thus, the novel Angosta (2003), by Colombian author H & eacute;ctor Abad Faciolince, reveals how the dream of order becomes a nightmare and materializes in a dystopian city in which extreme sectorization is its main characteristic. Such division poses a resemantization of both the Renaissance plane and the three spaces of the afterlife proposed by Dante in his Divine Comedy. Hence, this research work aims to analyze the vertical sectorization of the city as a dystopian-Dantean structure in the novel through a comparative analysis in terms of structures and themes between both works.
This paper argues that the autobiographical novel La estatua de sal offers a way of understanding ressentiment as a transmutation of values, following Friedrich Nietzsche. In this framework, moral values based on good conduct are redefined in contrast to others deemed perverse. In this sense, the novel reveals that, just as an unrestrained non-heterosexual sexuality is expressed, the author also displays a gesture of distrust and hostility toward the glorification of the Mexican Revolution. Salvador Novo presents ressentimentas a means of challenging dominant ideals, while relying on irony to do so.
The following study proposes a review of the fairy tale, but from a different perspective, in this case from the Latin American perspective, for which the term "Creole fairy tale" is suggested. Based on this concept, a tour of the concept of the marvelous seen in Todorov and Propp is made, to then locate the characters in Creole territory, which unfold within the magic of the marvelous, fulfilling part of the characteristics of the traditional fairy tale, already described by the mentioned scholars. Finally, it is intended to make an original contribution to the study of Latin American Children's and Young Adult Literature, by giving it a characteristic by which these stories, born in Latin American soil, can be defined, but impregnated by the magic of the marvelous characters and the art of the writers who saw fairies in American soil. Therefore, through the study of some selected stories, it is possible to give a categorization to this type of story, which indicates that it is a story with its own characteristics, with a singular evolution and that it has many edges to explore.
The Mexican writer Amado Nervo (1870-1919) constructed an image of himself that prioritized the poetic act over other types of writing and classifications. This paper aims to analyze some elements of Nervo's poetry in relation to his selfimage as a poet, which is also a strategy of reception and success anchored to the production hallmark of modernist literature, with which each writer sought a way to be unique in their own way, as a reading of his time. The feminized poetic voice, spirituality in relation to the discursive genre of personal improvement, and other more singular registers of his poetry will be explored, such as horror and pragmatism, in attention to a restless and shifting poetics that particularly considered female readers at the end of the 19th century as consumers of sensitivity. Nervo's loving, hopeful, and practical vein makes him a voice that resonates with the fin-de-si & egrave;cle cultural environment and strengthens his reaffirmation, above all, as a poet.
In this article the authors present a transcreation of seven poems by Yolanda Pantin, a Venezuelan poet considered one of the most vibrant voices in Spanish American poetry. The poems were originally published in the anthology Pais, poesia reunida 1981-2011 (2014, Pre-textos), which brings together texts from the author's robust poetic output. Based on Haroldo de Campos' (2013) proposals on transcreation, a task that demands constant tension, deconstruction, invention, reinvention, and replacement of signs from the original text, we set out to preserve the literary resources of each poem, while adapting some elements to give meaning in Portuguese to the poet's lyrical self.
Through the "luminous rays" of foolishness, the ideas of catastrophe and adventure in the narrative work of Jos & eacute; F & eacute;lix Fuenmayor recover their meaning as an exploration of fictional space, as a reflexive game between truth and nonsense, the truth of science and nonsense of fiction. In his work Una triste aventura de 14 sabios (Cuento fant & aacute;stico) (1928), the Colombian writer retrieves the idea of a manuscript where an interplanetary journey is narrated, a scientific adventure projected in the myth of a space machine, but what is the origin of this "gigantic flying machine" that crosses the narrative space of the avant-garde, what reasons sustain this new technical imaginary product of avant-garde fantasy, how to interpret the fall of the ship where the fourteen wise men travel? To the realism of the jungle, Curr & eacute;s-the narrator-opposes the "toy of intellectual hobby," as he calls his novel-manuscript; to the sociological denunciation, the "fantastic tale;" to the locus terribilis, to the voyage through the green hell and its accidents, the adventure of the fictional and scientific journey with its catastrophes and absurdities; to the voyages extraordinaires (Verne), the "greatest phenomenon of all ages." It is thus an avantgarde adventure that has as its excuse a science fiction journey, to explore not the truth of science but its fables and the dreams of avant-garde fiction.
The relation between war scenarios developed in both Europe and America in the first two decades of XIX Century, more precisely during the period 1808-1815, is correspondent in History of International Relations historiography to the macro phenomenon of the Transatlantic Conflict, a phenomenon which has generated both common and differentiated implications in each geographic context in which it has manifested. Such relation between Transatlantic Conflict war scenarios can be found inside two literature masterpieces, both written in different times by their authors, however each one focused on one specific context of this phenomenon. By one hand, Francisco Herrera Luque has written his Urogallo, exposing the raw side of Independence War in Venezuela through the life-and death-of Jos & eacute; Tom & aacute;s Boves. In retrospective, Joseph Conrad has written his masterpiece The Duel, in which the life of two Napoleonic Army soldiers who are personally confronted is exposed. This article pretends to expose a description of both masterpieces, and at the same time pursues to connect their narrative through analyzing the XIX Century Transatlantic Conflict phenomenon.
The present work is an approach to two works of the poet Celsa Acosta Seco, Otro lugarand Labio ebrio, with the purpose of glimpsing the symbolic flow of the body, through the interstices and vents that let us glimpse the true relationship that exists between the latter and poetry; thus establishing a poetics of corporeality or corporeality of the word that projects and illuminates through its own shadow, a process of incarnation of the silent, luminous, ancestral and sacred, configuring in turn the spaces and temporal registers of the body of poetry or of the poetic, where the mythical and the ritual recover their thickness in one of the most complex gifts of being as it is the memory.
