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Background: Adequate adaptation of the autonomic nervous system (ANS) is crucial in potentially life-threatening situations. The defence cascade provides a descriptive model of progressing dominant physiological reactions in such situations, including cardiovascular parameters and body mobility. The empirical evidence for this model is scarce, and the influence of physiological reactions in this model for predicting trauma-induced intrusions is unresolved. Objectives: Using a trauma-film paradigm, we aimed to test physiological reactions to a highly stressful film as an analogue to a traumatic event along the defence cascade model. We also aimed to examine the predictive power of physiological activity for subsequent intrusive symptoms. Method: Forty-seven healthy female participants watched a stressful and a neutral film in randomized order. Heart rate (HR), heart rate variability (HRV), and body sway were measured. Participants tracked frequency, distress, and quality of subsequent intrusions in a diary for 7 consecutive days. Results: For the stressful film, we observed an initial decrease in HR, followed by an increase, before the HR stabilized at a high level, which was not found during the neutral film. No differences in HRV were observed between the two films. Body sway and trembling frequency were heightened during the stressful film. Neither HR nor HRV predicted subsequent intrusions, whereas perceived distress during the stressful film did. Conclusions: Our results suggest that the physiological trauma-analogue response is characterized by an orientation response and subsequent hyperarousal, reaching a high physiological plateau. In contrast to the assumptions of the defence cascade model, the hyperarousal was not followed by downregulation. Potential explanations are discussed. For trauma-associated intrusions in the subsequent week, psychological distress during the film seems to be more important than physiological distress. Understanding the interaction between physiological and psychological responses during threat informs the study of ANS imbalances in mental disorders such as post-traumatic stress disorder. We used a trauma-film analogue to examine the defence cascade model and to investigate the influence of psychophysiological response on subsequent intrusions. While we found an orientation phase, upregulation phase, and coactivation indicated by heart rate, no downregulation phase was observed. None of the physiological parameters examined predicted subsequent intrusions, whereas subjective distress during the film did. [ABSTRACT FROM AUTHOR]

This article analyzes the story No hay nadie allá afuera by Alberto Fuguet, from the perspective of Peter Sloterdijk's philosophy on individualism in contemporary societies. Through this story, we witness the dismantling of the myth of the modern subject, capable of living outside the identifications of class and nation, and of vindicating his individuality to the last consequences. The analysis of the story confirms that the protagonist's impulse to flee comes from the appropriation of the codes and languages of the American audiovisual industry, on the one hand, and from the spatial operations that the foamy city restricts, prohibits and/or suggests, on the other; which empties the subject, causing him to lean toward cynicism and the suicide.

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La tarea se concentra en liberar una posibilidad prefigurada en el fenómeno del uno, a saber, la comprensión-interpretante impropia sobre el prójimo concreto. Esto requiere distinguir respecto al fenómeno del uno la doble direccionalidad de su sentido: se refiere tanto al quién impropio (uno-mismo) así como también a la pre-interpretación impropia en la que el dasein en-cada-caso-mío se interpreta a sí mismo y simultáneamente a sus prójimos. Junto con ello diferenciamos a los “otros” neutrales e indiferenciados en general, a quienes el dasein en-cada-caso-mío también pertenece constitutivamente, del prójimo concreto. Sobre la base de esta doble diferenciación se logra el acceso teorético a la manera cómo el prójimo concreto es experimentado implícitamente a la luz de la pre-interpretación del uno-mismo, cuya exploración exegética se desenvuelve según el hilo conductor del fenómeno de la huida.

Copyright of Anales del Seminario de Historia de la Filosofía is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Itinerarios (1507-7241) is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the text On some motifs in Baudelaire by Walter Benjamin and the work of the poet Charles Baudelaire, we intend to show two readings of his writings in order to expose the encounter between both interpretations, which takes place in his work throuth the spleen, and the Vieldeutigkeit of Theodor W. Adorno of these. This term, which has been translated by "multi- vocity", appears in the work Prismas (Adorno, 1962) expressing the possibility of multiple interpretations of a reality. In this way, we will study the dynamism between what we have called "the cleft of the spleen" and "the escape of the spleen", two moments of Baudelaire's work that manage to objectify in his poems the historical reality that this autor lived. We will also try to decipher if the spleen that weighed the poet so much is redeemed, or can be redeemed, through his literature. [ABSTRACT FROM AUTHOR]

El sentimiento de culpa puede mover al silencio o a la confesión. En Los culpables, Juan Villoro recoge siete testimonios de siete personajes apesadumbrados por las circunstancias en las que se encuentran. Si confesar es condenarse, también puede convertirse en el inicio de una vía que conduzca a la salvación. La mala suerte que aglutina a los siete sujetos encuentra su razón de ser en la indecisión de los protagonistas, en los zarandeos que la vida o los demás les causan debido a su falta de dominio. Esta debilidad puede conducir a la queja, como estadio previo a la confesión, o a la vileza y posterior desvelo, para situarse así en la confesión propiamente dicha. A través del análisis y clasificación de estos relatos, se conocerán los conceptos de suerte, culpa, confesión y cambio desde la perspectiva del escritor mexicano.

La actuación en Buenos Aires del virrey Sobre Monte mostró a este funcionario, de buenos antecedentes administrativos y militares, como un gobernante deficiente y ansioso de poder. Las Actas del Cabildo porteño reflejan los problemas ceremoniales que generó su influyente grupo familiar y la repercusión pública de actitudes poco felices del virrey que culminaron con su huida, en compañía de aquellos parientes y llevando consigo los caudales públicos, ante la invasión inglesa de 1806. Versos anónimos, de estilo culto o popular, han dado testimonio de estos hechos.

Copyright of Revista S is the property of Universidad Industrial de Santander and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Se trata de poner en perspectiva la mayor parte de novelas de Mario Vargas Llosa en función del tema de la huída, partiendo del hecho que é1 solicitó la nacionalidad Española inmediatamente después de haber perdido las elecciones para la Presidencia del Perú y de haber escrito El pez en el agua. Nuestro análisis intenta demostrar la importancia de la figura paterna – principalmente en el sentido de su ausencia y de sus bruscas reapariciones – en la cristalización sintomática del tema de la fuga. Es por eso que una analogía con la posición fóbica, en relación al padre o a sus substitutos, nos ha parecido pertinente. Teniendo como pivot el análisis de la forma, del contexto y del contenido de su libro de memorias, este trabajo definiría así las bases de una contribución literaria de la obra de Vargas Llosa a la clinica de la fobia.