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ECA Estudios Centroamericanos, Vol. 44, No. 485, 1989: 238-240.

Monseñor Romero ha penetrado a la dimensión de lo simbólico, de lo figurativo, del arte. Su persona entrega total está inspirando a quienes inspiran a la humanidad con la palabra poética, con la plástica, con el drama, con el pensar y el sentir hechos música. Desde el arte popular más ingenuo de un exvoto colgado en su sepulcro hasta el cine que reconoce el mundo, y la ópera, conjunción plural de la expresión estética. ¿Por qué? Porque su vida abundó en los grandes valores humanos que alientan el arte: el bien, la verdad, la libertad y la justicia.
ECA Estudios Centroamericanos, Vol. 45, No. 497, 1990: 157-163.

Dating back to prehistoric times, art has been serving as a means of communication for humans (Blundell, 2006). Considering that communication is the process of transmitting information and common understanding (Keyton, 2011), does communication through art occur only when people share a common understanding of art? When looking at art, do people need to look for the message as intended by artists and as defined by art historians? At a time of intense social, political and environmental changes, art museums could serve as social spaces that encourage communication among the public. This article explores the concept of art as a universal communication regardless of one's artistic abilities and art background vis-a-vis my research projects concerning the national art museum as a public educational resource. As part of my research, I carried out three community projects with young adult participants (aged 21- 30years). I exchanged ideas with the participants about the way they engage with the national art museum collection in Malta. Throughout the three projects, regardless of their artistic ability and aesthetic background, all participants communicated experiences, feelings and ideas through art. ; peer-reviewed

Ladies and gentleman, Assalam-o-alaikum, good morning and congratulations to the organisers of the King Edward Medical College symposium, both for convening this event and for giving it such a befitting theme. Universal health coverage has become the central pillar in the global health discourse. It is the unifying thread in goal three of the sustainable development agenda. It has become the number one policy choice of governments all around the world and for very good reason, because universal health coverage can create avenues to fix broken health systems, it can help to save lives, it can avert death and disability, it can be a vehicle for achieving programmatic goals and most importantly, if it is delivered effectively, it could become the 21st century welfare contract between the state and the citizens, a state's promise to its people.

This article addresses the long-term impact of colonialism on Europe's internal structures and on its self-positioning in a global context. Using the 2015 refugee crisis as a focal point and centering the German example, the author explores the complex relationship between memory discourses and visions of Germany's and Europe's postunification future. The author argues that the erasure of colonial violence from the continent's collective memory has a direct, negative impact on its ability to let go of a racialized identity that is in increasing tension with Europe's actual multiracial and multireligious composition. The article traces this dynamic around the example of the non-European collections in Berlin's Museum Island and the future Humboldt Forum, conceptualized as the world's largest "universal museum." The narratives through which this art is integrated into Europe's cultural heritage are in stark contrast to those that simultaneously defined the refugees, who arrived from the same region in which the art originated, as fundamentally different and threatening. The narratives intersect in the Multaqa initiative, which offers Arab language tours of Museum Island to refugees, and in the controversy around the site of the Humboldt Forum and the colonial art it is meant to house.

AbstractIntroduction: Rapid diagnostic tests (RDTs) are the primary diagnostic tools for HIV used in resource‐constrained settings. Without a proper confirmation algorithm, there is concern that false‐positive (FP) RDTs could result in misdiagnosis of HIV infection and inappropriate antiretroviral treatment (ART) initiation, but programmatic data on FP are few.Methods: We examined the accuracy of RDT diagnosis among HIV‐infected pregnant women attending public sector antenatal services in Cape Town, South Africa. We describe the proportion of women found to have started on ART erroneously due to FP RDT results based on pre‐ART viral load (VL) testing and enzyme‐linked immunosorbent assay (ELISA).Results: We analysed 952 consecutively enrolled pregnant women diagnosed as HIV infected based on two RDTs per local guideline and found 4.5% (43/952) of pre‐ART VL results to be <50 copies/ml. After excluding 6 women who had detectable virus on subsequent VL measurements, ELISA was performed on the 37 remaining women. Of these, 3/952 (0.3%) HIV RDT diagnoses were found to be FP. We estimate that using ELISA to confirm all positive RDTs would cost $1110 (uncertainty interval $381–$5382) to identify one patient erroneously initiated on ART, while it costs $3912 for a lifetime of antiretrovirals with VL monitoring for one person.Conclusions: Compared to the cost of confirming the RDT‐based diagnoses, the cost of HIV misdiagnosis is high. While testing programmes based on RDT should strive for constant quality improvement, where resources permit, laboratory confirmation algorithms can play an important role in strengthening the quality of HIV diagnosis in the era of universal ART.