For decades, dengue virus has been a cause of major public health concern in Costa Rica, due to its landscape and climatic conditions that favor the circumstances in which the vector, Aedes aegypti, thrives. The emergence and introduction throughout tropical and subtropical countries of the chikungunya virus, as of 2014, challenged Costa Rican health authorities to provide a correct diagnosis since it is also transmitted by the same vector and infected hosts may share similar symptoms. We study the 2015-2016 dengue and chikungunya outbreaks in Costa Rica while establishing how point estimates of epidemic parameters for both diseases compare to one another. Longitudinal weekly incidence reports of these outbreaks signal likely misdiagnosis of infected individuals: underreporting of chikungunya cases, while overreporting cases of dengue. Our comparative analysis is formulated with a single-outbreak deterministic model that features an undiagnosed class. Additionally, we also used a genetic algorithm in the context of weighted least squares to calculate point estimates of key model parameters and initial conditions, while formally quantifying misdiagnosis.1991 Mathematics Subject Classification. 92B05 and 37N25 and 62P10.
Fernando de Rojas en La Celestina hace pocas referencias a la religión y a espacios sacros. La única alusión específica a tales lugares es la iglesia de la Madalena. Allí se dirige Calisto a pedir para que los empeños de Celestina con repecto a Melibea resulten positivos. El acto de ir a la Madalena se repite tres veces durante el transcurso de la obra. Así, Rojas le presenta al lector otro ejemplo más de la ironía que permea toda la obra. Este ensayo trata sobre la historia y las leyendas de Santa María Magdalena y demuestra cómo las referencias a esta santa acentúan la ironía del esfuerzo de Calisto por hacer de Melibea su amada.
Juan de la Cueva's fourth play, Comedia de la libertad de España por Bernardo del Carpio , produced in Seville in 1579, holds special fascination for serious inquirers into early Spanish literature, and particularly for those drawn to the development of the Spanish national theater. This play dramatized the story of the Spanish medieval hero Bernardo del Carpio, and his defeat of the French at the battle of Roncesvalles. A closer study of the play reveals that Cueva did more than present history on the stage. The play is an affirmation of patriotic zeal, moral virtue, and religious precepts. Cueva uses the struggle of Bernardo as a means of urging his audience to consider questions of morality and of religion. As a moralist, the dramatist presents the example of two kings — Alonso of Spain and Carlo Mano of France — whose intemperate character should not be emulated. For Cueva, Bernardo's reasoned approach to solving personal and national problems represents the golden mean. At the heart of the lesson in morality lies a subtle message that is religious in nature. The themes of sin and salvation are woven throughout the drama and give the play a distinctly religious foundation. The errors in judgment made by Alonso and by Carlo Mano are reversed at the end of the comedia when Bernardo is crowned with laurel by Marte, god of war. Through the appearance of a divine figure, Cueva reassures his audience that evil will not win and that there is hope for salvation.
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