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In this paper, we argue that the recent debates andproclaimed crises in psychology are partly due to a reflection deficit and the reductionist understanding of psychology as exclusively a science. For this reason, we introduce Psychological Humanities as a novel interdisciplinary approach that defines psychology as its object of investigation and opens a field of reflection. Although the study of psychological topics with an orientation toward the humanities is not new, either within or outside of psychology, we argue for the introduction of the collective term Psychological Humanities for four reasons: (1) the definition of Psychological Humanities does more justice to central psychological subject areas such as subjectivity, (2) it serves as a common term of interconnectedness and visibility, (3) it resonates with new reflective fields in related disciplines, such as the medical humanities, and (4) it is more consistent with intersubjective practice in applied psychology. In what follows, we present our approach to Psychological Humanities, developed at the University of Lübeck. Our model differentiates between two fundamental views: a view from the outside on the discipline of psychology and its contexts (e.g., through history, cultural studies, and ethics) and a view from the inside on psychology (e.g., through theoretical psychology, critical psychologies, or epistemology of psychology).

Il rinchiudersi in sé stessi e in stanze private è un problema divenuto attuale, a causa dell’insorgere dei fenomeni hikikomori e NEET. Nella nona arte questi ambienti si sono trasformati in spunto narrativo per molte opere. È il caso di manga quali Welcome to the NHK, Mēteru no kimochi o i lavori di Asano Inio; ma anche, nella produzione italiana, dei lavori di Zerocalcare o di Habitat di Raffaele Sorrentino. Dopo un’analisi di questi due fenomeni sociali, analizzeremo come questo spazio venga rappresentato, riflettendo i cambiamenti del contesto sociale.

Ausgehend von markanten Tendenzen der Alterisierung, Mythifizierung und Exotisierung der narcoculturasinnerhalb des gesellschaftlichen Imaginären und der literarischen Narkofiktion analysiert, interpretiert und diskutiert der vorliegende Beitrag die allegorischen und poetischen Darstellungsmodalitäten von Yuri Herreras Trabajos del Reino(2004). Der Roman zeichnet die Allegorie einer Narko-‚Parallelgesellschaft‘, die als ein märchenhaftes Königreich mit Elementen barocker Ästhetik inszeniert wird und insoweit anti-mythischen Charakter aufweist, als sich darin bestimmte Figurationen des gesellschaftlichen Imaginären spiegeln und in der allegorischen Form zugleich erkenn- wie kritisier- und dementierbar werden.

La raccolta Le fleuve/Il fiume, scritta dal poeta di origine libanese residente a Montreal Georges Abou-Hsab, viene pubblicata nel 2006 dalla casa editrice Lanctôt di Montreal.

À partir de la question « [comment] écrire [sa propre] épouvante d’écrire? », cet article vise à mettre en lumière la valeur spéculaire de ces «nouvelles autobiographies », — notamment, Les Romanesques”, Le Jardin des Plantes‘, Enfance”, Taches d'encre”, Écrire, ainsi que Portrait de l'artiste en jeune singe” —, y examinant les divers avatars de l’autoréflexion, à savoir, le miroitement presque narcissique du processus scriptural au sein du récit de soi.