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The comment reviews the rigid rules of psychoanalytic technique established by Freud and their grip on practice in the Heroic Period of psychoanalysis, despite the irony that Freud himself broke his own rules with abandon. Heinz Kohut made the conceptual transformations in the theory by placing empathy at the center of the project. Richard Geist and Meredith Nocek creatively extend this tradition in their work "Permeable boundaries: Therapeutic benefits." [ABSTRACT FROM AUTHOR]

The composition of the novel by the modern English writer P. Ackroyd “The Plato Papers” in connection with the problems of the work is considered. The review of the last researches devoted to creativity of this author is given. Attention is paid to how the work reveals the problem of interpretation of history, its ambiguity, the concept of the movement of time, progress, the relationship of the past, present and future. The author shows that when shifting the time of the novel in the future, Ackroyd uses the documentary imitation technique, changes narrators and types of narration. The composition of the work consisting of separate small parts connected in a key way by the speaker Plato is analyzed. Such properties of the composition of the analyzed novel as fragmentation and nonlinearity are noted. It is shown how the novel realizes postmodern idea about the relativity of the interpretations of the events of the past. The position of the main character endowed with the gift of insight, able to penetrate into the past, to look from an unusual point of view at the present, to doubt and seek the truth is revealed.

Andrea Kelly Henderson, "Harriet Martineau's Realized Abstractions" (pp. 81–105) Critics have long noted—and often lamented—the formal incoherence of Harriet Martineau's Illustrations of Political Economy (1832–34). This essay argues that the tales' formal bifurcations can be understood not as a failing but as a conscious response to the absence of a contemporary consensus regarding the groundedness of economic abstractions. Martineau's aesthetic of what I call "realized abstraction" offers a solution of sorts to this epistemological problem: unable to mediate between abstractions and particulars, she simply insists on the importance of both. Berkeley the Banker, her tale devoted to banking and currency, vividly dramatizes this dichotomizing logic. In this work, the relationship of concrete value to its abstract representation in paper money is analogized to a troubled marriage, one in which the husband forces his virtuous wife to subscribe to his false representations. Martineau's story will explicitly argue for the usefulness of economic theory and paper money, but she resists the tendency of abstractions to render the concrete invisible in an act of metaphoric coverture; instead, she presents the abstract and the particular as autonomous realms. Martineau's aesthetic of juxtaposition thus aspires to virtues quite different from those of Romantic organic wholeness or realist transparency: her tales aim not only to educate readers in abstract principles and historical particulars but also to train them to discriminate between the two. In subsequent decades, philosophers of science would formulate compelling new ways to bind abstractions to particulars, and the success of that project would mean that despite the Illustrations's enormous popularity during the 1830s, they would seem to later generations to be marred by formal fragmentation. [ABSTRACT FROM AUTHOR]

The aim of the article is to analyse William Golding's novel The Paper Men as an example of a modern confessional narrative. It is argued that the narrator of the novel, Wilfred Barclay, is characterised by his ironical stance both with respect to himself, other people, and - what is more important - to his own narrative. This ironical distance makes him a self-conscious narrator who is aware of both the powers and limitations of his confession. By referring to different modes of self-expression, most importantly the legal and the psychoanalytic, Barclay seeks to redefine confessional discourse to suit his own purposes. In his journal, he addresses issues which have always been crucial for authors of both ecclesiastical and secular confessions: free will, sin, damnation and redemption. The present article is a close examination of the above-mentioned issues. It is argued that that the relationship between the two major protagonists of the novel -- Wilfred Barclay and Rick L. Tucker -- can be treated as a commentary on Golding's attitude towards literary critics. The conclusion of the article considers The Paper Men against the background of Golding's views on literature and the creative process. [ABSTRACT FROM AUTHOR]

Copyright of Al-Bahith Al-Aalami is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

This paper argues that popular culture can teach marketing how to incorporate ideological perspectives. Through a rhetorical analysis of the movie Barbie, focusing on a post-postmodern narrative strategy of irony and sincerity, the paper demonstrates how the movie integrates critical and celebratory feminist perspectives with commercial perspectives on the Barbie doll. We argue that Barbie is an ambiguous and contextually sensitive text, which includes both critical and celebratory perspectives on Barbie and Mattel, as well as cultural commentary on feminism and marketing. We operationalise this post-postmodern narrative strategy as double appropriation and argue that, in the case of feminism, it specifically plays out as pink sincerity. We suggest the concept of double appropriation and pink sincerity has implications for brand's sincere ideological engagement. [ABSTRACT FROM AUTHOR]

Twitter sentiment analysis poses challenges due to the informal language, limited character count, and prevalence of sarcasm, which can alter the polarity of messages. This paper presents a pattern-based approach to detect irony in Twitter sentiment analysis. By analyzing various types of irony and identifying their patterns, this paper proposes a methodology to improve the efficiency of sentiment analysis. Tweets are classified into different categories based on their sarcasm using a machine learning algorithm. The proposed approach involves feature extraction from tweets, including sentiment-related features, punctuation-related features, grammatical and phonetic features, and patternbased features. A hybrid pattern extraction with a classification model is employed to process tweet data and classify it as sarcastic or not. Experimental results demonstrate the effectiveness of the proposed approach in detecting sarcasm in tweets, with precision ranging from 84.6% to 98.1% across different classifier algorithms. This pattern-based approach offers promising results for enhancing sentiment analysis on Twitter and understanding the nuances of communication in social media discourse. [ABSTRACT FROM AUTHOR]

Copyright of Philological Review (00151807) is the property of University of Belgrade, Faculty of Philology 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.)