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Negative Platonism is perhaps one of Jan Patočka's texts that has received the most attention in the academic world. Its importance is rarely doubted. However, today we are far from exhausting the implications of the Czech philosopher's interpretation of Plato. In particular, the conception of the Platonic Idea that derives from Patočka's reading does not seem to have been sufficiently confronted with what Plato himself said in his dialogues. According to the author, there seems to be a particular affinity between what Diotima says in her speech in the Symposium and Patočka's interpretation of Plato, which, until now, does not seem to have received enough attention in the academic literature on these two authors. In a similar way to what Patočka proposes with the experience of freedom as a door that opens to the consideration of the Idea, Diotima anchors the recognition of beauty in itself with the experience of beauty in the world. This "anchoring" would be given by the ascending path proposed in the scala amoris, in which eros, assumes an "integrative function" within the lover. Precisely, this integrative function carried out by eros seems to give reason to the link that Diotima establishes between that which is beauty in itself and the true virtue that the lover engenders by experiencing it. [ABSTRACT FROM AUTHOR]

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During Australia's first nationwide lockdown due to COVID-19 in 2020, hairdressers and barbers were allowed to remain operating while beauty salons and similar businesses were ordered to shut. This article offers some preliminary insights into the impact of the pandemic on salon workers during the period, in particular the additional emotional labour required. Drawing on a survey of salon workers based in Australia (n = 92), this article considers the emotional labour involved in salon work in tandem with the impact of COVID-19 disruptions on this workforce. Results of the survey reveal the variety of emotional disclosures that salon workers generally encounter from clients and how these disclosures continued during the period, as well as the emotions experienced by workers themselves. Survey results suggest that many salon workers, who were themselves experiencing heightened levels of physical, emotional and financial vulnerability, were expected to continue their emotional roles for clients during a period of high anxiety and stress. This work suggests that future decision making ought to consider the impact on, and how best to support, all workforces who remain in operation during lockdowns, particularly emotional labourers, and not just those typically imagined as 'essential'. [ABSTRACT FROM AUTHOR]

ABSTRACT: The representation of the city since Baudelaire is the poet of the " Tableaux Parisiens (Paintings Parisians)" who becomes poet-journalist-solitary at the corner of the streets, will give a certain vitality to the aesthetics of waiting since the rendering is an association between reality and reality. Imaginary giving meaning to what Butor calls “the imaginary Museum”. Sartre said of Baudelaire, “he is the man who never forgets himself”. He will therefore always find the means to rethink his being, say, and say again what he dreams of instead of what he lives. In other words, the “Parisianness” of Parisian paintings is indisputable… but the challenge is to achieve a representation of “the encounter”; "from love at first sight" that materializes this desire to "drink the deep immensity..." beyond the "morbid miasma" (Elevation). We will realize, in this reflection that the encounter slips towards a hunt for the impossible born of a flirtation of a "fleeting beauty" endowed with an exceptional power of rebirth. RÉSUMÉ : La représentation de la ville puisque Baudelaire est le poète des « Tableaux Parisiens » qui devient poète-journaliste-solitaire au coin des rues, donnera une certaine vitalité à l’esthétique de l’attente puisque le rendu est une association entre le réel et l’imaginaire donnant sens à ce que Butor appelle « le Musée imaginaire ». Sartre disait de Baudelaire que « c’est l’homme qui ne s’oublie jamais ». Il trouvera donc, toujours, les moyens pour repenser son être et dire et redire ce dont il rêve à la place de ce qu’il vit. Autrement dit, la « parisianité » des tableaux parisiens est incontestable… mais le vrai pari, c’est d’aboutir à une représentation de « la rencontre » ; « du coup de foudre » que matérialise cette volonté de « boire l’immensité profonde… » au-delà des « miasmes morbides » (Elévation). On se rendra bien compte, dans cette réflexion, que la rencontre glisse vers une traque de l’impossible née d’une drague d’une « fugitive beauté » dotée d’un exceptionnel pouvoir de renaissance

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Internet social networks are used for multiple purposes by their users/consumers, but it is necessary to consider how much they push for models of truth, values, subjectivities, and coexistence. This article investigates the effects of meaning on the female body in images and captions published by digital influencers on their Instagram profiles. Eight posts (photos) were selected from four public profiles of Brazilian digital influencers with the highest number of followers (and, therefore, high reach) and analyzed based on an analysis of Michel Pêcheux's speech. Thus, the eight selected discursive sequences (photos/videos plus captions/comments) were related to two discursive formations: meanings about the female body and meanings about femininity. The main results highlight the meaning of the female body as a commodity to achieve an ideal of beauty through willpower and meritocracy, related to gender binarism and the satisfaction of male pleasures, which can deepen inequalities between genders without the users/consumers of these social networks' perception. [ABSTRACT FROM AUTHOR]

Le pagne est un vêtement qui revêt une importance multisectorielle. Il est un genre de vêtement dont se sert l’homme pour se protéger contre les intempéries, mais aussi il a requis une notoriété persistante dans l’univers vestimentaire de la femme congolaise notamment. Il est apparu, dans la 2ème République, comme un instrument d’affirmation identitaire qui a servi de support symbolique et médiatique à l’idéologie politique de l’authenticité. Symbolisant l’identité de la femme congolaise authentique, le pagne a incarné le modèle de l’habillement féminin en mettant en relief l’élégance de la femme congolaise. Progressivement, la femme a été suivie par l’homme, qui a adhéré à ce modèle. Cependant, l’euphorie de la démocratie a ouvert une immense brèche qui a lézardé l’univers vestimentaire congolais en donnant lieu à l’inflation des modes et des styles tendancieux hérissant la décence, choquant la moralité suite à l’institution d’un univers vestimentaire pernicieux d’origine étrangère. Les regards des femmes et des jeunes filles sont désormais tournés vers l’occident qui leur offre diverses modes dévoilant le corps et s’inscrivant dans l’évolution des mœurs. Face à cette influence malencontreuse, l’étude s’interroge sur la place du pagne dans la culture d’élégance de la femme congolaise. Au-delà de cet aspect, l’étude s’interroge également sur l’apport du pagne à la promotion de l’égalité entre l’homme et la femme (dimension du genre). Cet article tente d’apporter un éclairage supplémentaire sur ce sujet à partir des résultats d’une étude effectuée auprès de 160 femmes, agents et étudiantes, de l’Université de Kinshasa. Les données recueillies montrent que le pagne joue encore un rôle important dans le modèle d’habillement idoine de la femme congolaise, en dépit de l’influence des modes vestimentaires étrangères que la femme subit continuellement.

La presente investigación se enmarca en una sumatoria de supuestos derivados de un eje nuclear que es la belleza, como protagonista de una complejidad social del siglo XXI. Se busca reconocer elementos en torno a la dominación exógena de patrones estéticos, que obligan a cosificar experiencias nacidas desde lo instintivo en relación con los límites axiológicos. La belleza, bajo el enfoque de esta investigación, mercantiliza y cosifica el cuerpo femenino dentro de un mercado fluctuante entre oferta y demanda, con tabulaciones y precios definidos por la cultura occidentalizada. El costo de “ser bella” produce “espirales del silencio”, donde la degradación, la indiferencia, incluso la prohibición son elementos que distinguen el mundo de la transgresión y el culto al ego. El soberano frenesí del cetro y la corona completan rituales de veneración de lo estético, con las dificultades derivadas de una lógica amigo-enemigo. El otro, es una amenaza natural que, se debe derrotar en los certámenes y la pasarela. Lo anterior, enmarca a los elementos que se deben considerar para que los modelos de vida y vida de modelos sean entendibles, como herencia de hábitos facultativos atrapados en ilusiones de autorrealización y desarrollo.

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La poésie, trop contestée par son hermétisme et anéantie de plus en plus par la modernisation, évoque cependant, des images de beauté et de rêve. Cette immense richesse du langage poétique pas assez suffisamment exploitée dans le domaine de loisirs, et sans doute inépuisable, nous invite à explorer l’art poétique d’Alfred de Vigny très riche et capable de dégager des « menthes » du langage pouvant calmer des âmes brûlantes, et promouvoir le tourisme pour un développement économique. Notre texte d’analyse est La Maison du berger, un poème du recueil Les Destinées (1873) de Vigny. L’objectif de cette recherche est de créer un langage pour la publicité à travers la poésie. L’analyse sera soumise à La Rhétorique de l’Image de Roland Barthes. L’étude démontre le symbole de l’homme voyageur et ses voyages de loisir comme instrument purgatif de détox, ainsi qu’une activité définissant son essence, sa passion et ses loisirs. Elle révèle également le pouvoir captivant du langage poétique pour un rendement touristique.

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In clinical practice, patients who are strongly dissatisfied with the condition or appearance of their body are common. Many of them try to shape their body according to their own ideals by means of body practices. However, this is about much more than mere appearance. The body is a central element of one's identity. The relationship we have with our body is socially shaped and reflects questions about who we are and how we want to be perceived. The needs for attachment and control represent central motives here: In the need for attachment, body practice primarily serves social recognition, whether to stand out positively or not negatively. In the case of the need for control, the body serves as a docile object of self-empowerment. [ABSTRACT FROM AUTHOR]

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Copyright of Recherches Feministes is the property of Groupe de Recherche et d'Echange Multidisciplinaires Feministes 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.)

Les passions ont une longue histoire philosophique, puis médicale, depuis l'Antiquité. Pinel les utilise dans le traitement moral. Esquirol leur consacre sa thèse. Au tournant des XIXe et XXe siècles, le délire des persécutés–persécuteurs (1886), puis le délire de revendication (1909) marquent en France l'émergence de troubles psychotiques reposant sur l'exaltation passionnelle. Dide introduit dans son ouvrage de 1913 le mécanisme psychologique de la passion, conjugué à l'idéalisme, comme organisateur d'une nouvelle forme de pathologie mentale. Il distingue les idéalistes passionnés de l'amour (chasteté), de la bonté (religion, société, nature), puis de la beauté et de la justice (revendicateurs, réformateurs), cette dernière forme aboutissant à la cruauté. Il s'appuie sur de nombreux exemples historiques, du Moyen Âge au XXe siècle, et sur quelques observations. Ces sujets se caractérisent par la prédominance des anomalies de la sphère affective, auxquelles sont subordonnés jugements et représentations, par une inclination fixe se cristallisant brusquement, par leur intensité passionnelle, ce qui renvoie plutôt à un trouble de la personnalité qu'à une pathologie psychotique. G. de Clérambault crée en 1921 le groupe des délires ou syndromes passionnels, dont la forme principale est l'érotomanie, qu'il distingue radicalement de l'idéalisme passionné de l'amour. Dans son manuel, Henri Ey intègre les délires passionnels et de revendication au sein des délires chroniques paranoïaques. Derived from the Greek pathos and the Latin passio, the French word passion in used in the Middle Age to designate a suffering and then a violent affection. After the Treatise on passions of Galen, it is only during the 17th century that physicians (like Cureau de la Chambre) and ecclesiastics (Coëffeteau, Senault) write books about the passions. In his Treatise on the passions of the soul (1649), Descartes emphasises a dualist approach body/mind, while Spinoza uses in his Ethics (1677) a monist conception. Pinel recommends to oppose the different passions between them in his "moral treatment" (1800). Esquirol writes a medical thesis on the passions (1805) and describes an affective (or reasoning) monomania (1838). Inside the French classification of chronic delusional states by their themes, Pottier isolates the delusion of "persecuted–persecutors" reasoning (1886). Serieux and Capgras develop its description in their "vindication (revendication) delusional state" (1909). Four years later (1913), the book of Maurice Dide (1873–1944), a French alienist working at Toulouse, is published in the context of the new classification of delusional disorders by "mechanisms" (interpretation, hallucination, imagination) and constitutions. The author describes three great groups of passionate idealists: 1) love, either profane, or religious, but always chaste, sudden, based on an erroneous affective judgement, a fixed inclination, mechanisms of passive contemplation and of admiration; 2) goodness, concerning philanthropists, religious and social reformers (Jean de Leyde, Saint-Simon, Cabet), idealists of the nature (François d'Assise, Rousseau, Tolstoï); 3) beauty and justice, leading to cruelty (the most important chapter). The idealism of the esthete is egocentric, relies on an overdeveloped personality (D'Annunzio) and can reverse in moral and physical cruelty (Sade). The passionate idealism of the justice can also be egocentric: it corresponds with the "vindication (revendication) delusion" (overdeveloped personality, instability, sudden beginning, intellectual excitation, capacity of conviction, dangerous behaviour). On another hand, the altruistic idealism of the justice is either individualistic (regicides, crimes of anarchists), or synthetic, with more moderate personality disorders, but implacable reforming fanaticism (Torquemada, Calvin, Robespierre). At last, Dide studies the most pathological class of "instable pseudo-altruist vindictive" lunatics, which present comorbidity with delusional and mood disorders (Marat). The conclusion of the book emphasizes on the prevalence of disorders of the affective faculties rather than of the intellectual ones and on the intensity of the passions among the idealists. They suffer from a personality disorder rather from a psychotic disorder. In 1921, Clérambault describes the passionate delusions or syndromes, subdivided into "vindication", erotomania and jealousy ones. He distinguishes erotomania from Dide's passionate idealism of love. Guiraud (1942) tries to maintain the autonomy of the two groups. But French manuals of psychiatry, since Henri Ey (1960) valid Clerambault's classification of passionate psychosis, included into the chronic delusional disorders (paranoia). [ABSTRACT FROM AUTHOR]

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Copyright of Recherches Feministes is the property of Groupe de Recherche et d'Echange Multidisciplinaires Feministes 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 Recherches Feministes is the property of Groupe de Recherche et d'Echange Multidisciplinaires Feministes 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.)

The body dysmorphic disorder (BDD) belongs to the somatoform disorders and is characterized by an excessive concern about a slight or not apparent defect in appearance. Typical areas of concern include the face, for example the skin texture or form and symmetry of a particular feature. Besides behavioral pecularities such as excessive checking of the defect in a mirror, the preoccupation causes clinically significant distress and impairment in social functioning. Given a prevalence of up to 20 % among patients seeking plastic surgery, it is perhaps the most relevant psychiatric condition for plastic surgeons. Moreover, aesthetic treatments might even lead to a worsening of symptoms. Thus, we recommend close observation of all patients seeking aesthetic operations cautiously with regard to typical symptoms and behavior. Particular questions from well-known screening questionnaires might further help to identify patients with BDD. [ABSTRACT FROM AUTHOR]

L’article analyse les écrits critiques (réunis dans Nos Maîtres) et les textes littéraires de Teodor de Wyzewa, en fonction de son attitude à l’égard de ceux qu’il considérait comme ses maîtres. L’évolution de la pensée de Wyzewa démontre que cet adepte du wagnérisme s’est progressivement éloigné de ceux qui l’ont influencé, en remplaçant une approche intellectuelle de l’art et la foi aveugle dans la science, jugée vaine, par un idéal à la fois esthétique et éthique. Dans le roman Valbert ou les Récits d’un jeune homme Wyzewa décrit un détachement de l’idéalisme aliénant au profit d’une attitude spontanée face à la vie. Sa relecture des paraboles bibliques met en question la philosophie schopenhauerienne au profit du tolstoïsme (Contes chrétiens). La quête des valeurs morales entraîne une rupture avec la pensée symboliste en faveur d’une religion de l’amour et de la beauté. En formulant son propre enseignement Wyzewa a donc dépassé l’autorité de ses maîtres, sans pourtant amoindrir leur importance pour toute sa génération.

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The present theoretical-exploratory text aims to clarify contributions that the concept object of study, the aesthetic leisure experience, can provide in terms of personal and social development. Orientated from this end, we carry out a bibliographical review from writings on the aesthetic leisure experience in databases and book collections, such as Scielo and the collection of Documentos de Estudios de Ocio. The descriptor that guided these searches was "ocio estético", in the Portuguese, Spanish and English languages: ocio estético, ócio estético and aesthetic leisure. Using this thread, we divided our path into two moments, respectively titled: "Between Experience of Leisure and Aesthetic Experience" and "Marking Features of the Aesthetic Leisure Experience." In the first part we present some milestones on the esthetic experience and its relations with the leisure experience; and then we present characteristics that are intimately peculiar to the aesthetic leisure experience. This led us to conclude that the perception of beauty is a central element of the aesthetic leisure experience, since it is based on a view in which the subject and elements of his culture dialogue; a dialogue that allows the person an encounter with himself, new views about his context and reconstructions of identity, and contribute to micro-resistance processes in the face of dominant discourses in a culture. [ABSTRACT FROM AUTHOR]

Jung and Freud had very different ideas about the nature of analysis. This paper begins by exploring how Jung's gnostic approach, with its goal of individuation, is deeply informed by Buddhist and Taoist principles. His pluralistic, relational model regards truth as subjective and co-constructed with the patient. In contrast, Freud's secular methodology has objective truth as its goal. His classical psychoanalysis is a form of reality testing where the analyst claims to know the painful, singular, objective reality which the patient tries to evade. The theory of aesthetic development (see Piaget 1951, Baldwin 1975, Parsons 1980, Housen 1992, Harris Williams 2010) proposes that artistic appreciation is linked to human development. The paper looks at how the apperception of beauty, related to both truth and meaning, acts as an indicator and facilitator of individuation in the clinical encounter. This is illustrated by a clinical case study. Through empirical research, support is given to the argument (Bollas 1978, Meltzer 1988) that our early experience of the feminine/maternal plays a central role in developing an aesthetic capacity. The experience of the sublime in analysis is examined and portrayed as a means by which aesthetic development may be reignited and narcissistic isolation shattered. [ABSTRACT FROM AUTHOR]

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The paper aims to show a dandy as a performer who acts as if he was guided by a kind of a revolutionary manifesto, which we attempt to recreate by referring to essays of Jules Barbey d'Aurevilly, Charles Baudelaire, Jules Lemaître or Oscar Wilde. The dandy's rebellion against the outside world consists in the creation of his own personality, as well as in the rejection of the rudimentary uniformity and the duty of utility. He seeks to give his life an exceptional character, his unique goal is to serve the highest value: the Beauty. His responsibility is to impress his audience and not to let himself be amazed, as he cannot disclose his feelings and he has to adopt an impenetrable attitude, guided by the constant urge of staging his life, as a form of protection against the surrounding world, malevolent and rude. [ABSTRACT FROM AUTHOR]

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The paper deals with two texts that were regarded as classic novels for the Decadent movement: À rebours and The Picture of Dorian Gray; the former is widely regarded as the "Bible of Decadence" which greatly influenced Oscar Wilde's hero and led him to his downfall - "the French poisonous novel" is believed to dominate Dorian's actions and influenced him to choose a lifestyle based on hedonism and sins. Both novels show how the protagonists relate to their own sexuality - Dorian leads an immoral life, while Des Esseintes, after having experienced numerous love affairs, is defined as lacking strength, energy and productiveness. Their histories oscillate between illness and the aesthetic contemplation of beauty. Illness in these two narratives comes under the shape of 'mal du siécle' (referring to the ennui, the melancholy felt by most of the young men in the Europe of the 19th century), neurasthenia (whose symptoms of anxiety, fatigue and depression were signs of the decadent sensitivity) and ultimately degeneration of bodies (which Max Nordau in his work Degeneration sees as a possible result of the contempt for traditional values and morality). Beauty, seen by the two authors as an aesthetic concept, should provide the protagonists with refined sensuous pleasure, rather than transmit moral messages; so, sensuality, the series of symbols and synaesthetic effects are meant to establish a sense of alienation, the obsession with artifice and ultimately the aversion to the natural; the contemplation of beauty takes sometimes the form of narcissism, another sign of degeneration (according to Max Nordau) which shows the psychopathological character of the culture and its moral and ethical decline. To a great extent, authors and protagonists embrace everything that is unnatural or unhealthy. [ABSTRACT FROM AUTHOR]

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