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Copyright of Cahiers d'Études Africaines is the property of Editions EHESS 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 en Langue et Littérature Françaises is the property of University of Tabriz 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.)

During the Garden Lupine’s two centuries of presence in Sweden, its apprehension has been marked by cultural reconfigurations – from an appreciated garden plant, through being a token for Swedish midsummer to being deemed an invasive alien species and ecological threat. With the purpose of deepening the understanding of how environmental management works as a nexus of nature and culture, this article analyzes ‘The Great Lupine Combat Day’, to show how the lifecycle of plants and culturally imbued actions and preferences interact. By employing ethnographic methods and qualitative source material to enable a cultural analysis of the traditionalization of eradicating invasive species, the article shows how this annual event ties together an established annual calendar, the life cycle and visuality of plants, biodiversity crises, an idealized aesthetics feature of Swedish nature, and eradication practices. In essence, the management of the Garden Lupine serves as a reminder of how nature is always culture. [ABSTRACT FROM AUTHOR]

Les actes de chirurgie plastique consistent à prodiguer des soins aux patients et poursuivent une finalité thérapeutique. Ils bénéficient de l'exonération de TVA conformément à la législation européenne. Ils apparaissent dans la Classification commune des actes médicaux en tant qu'acte thérapeutique, qu'ils soient pris en charge ou non par l'assurance maladie. Pour aider le chirurgien plasticien lors de la consultation dans son rôle d'expert médicochirurgical, nous proposons une échelle d'évaluation globale de la disgrâce physique. Celle-ci précise l'importance de la dysharmonie, son étiologie, et considère le patient dans son intégralité, tant sur le plan biologique que psychosocial. Toutes les répercussions sont analysées : retentissement physiopathologique, douloureux, retentissement fonctionnel sur les actes de la vie courante, les activités d'agrément et sexuelles, retentissement psychologique, social et professionnel. Chaque item est coté indépendamment. En fonction du score global obtenu, la nature thérapeutique de l'acte pourra être confirmée. L'échelle proposée est un outil simple permettant facilement et sérieusement de conforter la nature thérapeutique de nos actes. Elle assure une expertise argumentée, une synthèse fiable et incontestable. Nous sommes avant tout des médecins, soignants et contribuant à la santé telle que définie par l'OMS : « un état de complet bien-être physique, mental et social ». Nous seuls sommes aptes à juger de la nature thérapeutique d'une prestation, en accord avec nos patients. The acts of plastic surgery consist in providing care to patients and pursue a therapeutic purpose. They benefit from VAT exemption in accordance with European legislation. They appear in the Common Classification of Medical Acts as therapeutic acts, whether or not they are covered by health insurance. To assist the plastic surgeon during the consultation in his role as a medico-surgical expert, we propose a global assessment scale for physical disgraces. This scale specifies the importance of disharmony, its etiology, and considers the patient in his entirety, both biologically and psychosocially. All repercussions are analyzed: physiopathological impact, pain, functional impact on daily life activities, pleasure and sexual activities, psychological, social, and professional impact. Each item is independently rated. Depending on the overall score obtained, the therapeutic nature of the act can be confirmed. The proposed scale is a simple tool that easily and seriously supports the therapeutic nature of our acts. It ensures argued expertise, a reliable and indisputable synthesis. We are, above all, doctors, caregivers, contributing to health as defined by the WHO: "a state of complete physical, mental, and social well-being." We alone are able to judge the therapeutic nature of a service, in agreement with our patients. [ABSTRACT FROM AUTHOR]

This article discusses the challenges and strategies involved in collective creation within a theater course at the University of Abomey-Calavi in Benin. The author explores the different perspectives and motivations of teachers, students, and academic representatives, and how these diverse interests can be reconciled to ensure the theatricality of the production. The study analyzes the strategies used by participants, the aesthetic challenges they face, and the methodology employed in theater workshops at the university. The research is based on the theory of the literary field and highlights the importance of managing interactions and conflicts in collective creation. [Extracted from the article]

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. 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 Fabula - LhT is the property of Fabula 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 Cahiers Victoriens & Edouardiens is the property of Presses Universitaires de la Mediterranee 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.)

If it can be said for certain that dramatization is intimately part of Araki Nobuyoshi's works, then how the use of this detachment from objectivity - believed to be inextricably bound up with the photography as a media - becomes a component of an aesthetic language in itself? The sprawling work Tokyo Lucky Hole shows, with a bold brightness that recalls Walker Evans' "documentary style", much more than a mere immersion in Tokyo Kabukichō's clubs and peepshows. Accordingly, the nude body - feminine, even masculine - seizes the main place of Araki's work through his models' acting. By means of three different analysis lines, we will discuss in this essay the importance of bodies position (clothed, then naked) in this unusual work, whether this position is internal or external to the image. Bodies positioning seems to convey a major meaning through their juxtaposition or repetitions, which could ultimately be understood firstly as the medium of the language of pseudo-objectivity, and secondly as the indicator of some social criticism. [ABSTRACT FROM AUTHOR]

Copyright of XVIIe Siècle is the property of Presses Universitaires de France 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 Imaginaires is the property of Universitaires de Reims 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.)

Psychotherapy is an art: for many practitioners this claim has considerable appeal. My intention here is not to merely defend the claim, but to see how far it can go. To vaguely endorse it feels apologetic; it also implies a facile polarization between art and science – between a (preferred) subjective, qualitative dimension, and a seemingly objective and quantitative domain. It would be wrong to bring art into the equation without some appreciation of the aesthetic experience. In relation to therapy, this requires developing a better grasp of the craft of therapy – of its imaginative response to the sheer elusiveness of mental distress. aesthetics. Psychotherapy is also a form of political praxis. Some practitioners – myself included – would support that claim. Can psychotherapy become a praxis? Can it be, in other words, linked to action, and as such become a political force in the wider, transformational sense of the term? These are among the questions explored in the second part of the current paper. [ABSTRACT FROM AUTHOR]

La définition du goût par l’abbé Charles Batteux (1713-1780) comme « connaissance des règles par le sentiment » est souvent interprétée comme souscrivant à un irrationalisme esthétique, c’est- à-dire comme participant d’une scission entre les domaines cognitif (épistémique) et sensible (esthétique) au XVIIIe siècle. Or cette interprétation pose des problèmes d’ordre textuel et doctrinal à la lecture de l’œuvre. La présente étude tente d’identifier chez Batteux une résistance scolastique au « triomphe de l’ignorant » en matière esthétique et de proposer une description des opérations du goût selon l'abbé.

The Haitian Revolution—the famed historical event that redefined the liberatory possibilities of modernity and altered Black diasporic subjectivities—offers a wealth of knowledge that has yet to be fully analyzed. This article explores the diasporic and queered possibilities embedded in the story and aesthetic representation of the revolutionary actor, Romaine la Prophètesse. This liminal figure of the early revolutionary era galvanized thousands of formerly enslaved people to fight against the French colonial apparatus while embodying a feminine, creative, and spiritual gendered subjectivity, diverting from the overdetermined masculinist and militaristic ethos of the time. Nonetheless, most accounts of Romaine are tangentially mentioned and do not explore the rebellious possibilities of this historical figure's imaginative gendered presentation. To counter the analytical impasse imposed by Western and authoritative archives and methodologies, the author employs a "radical interdisciplinarity"—a crucial Black studies approach—to unearth the potential of creative genders and their role in upholding Black diasporic epistemes of freedom and resistance. Paying attention to Haitian abstract art, and particularly the work of Haiti-born, Montreal-based multidisciplinary artist Manuel Mathieu, the author explores how his pieces blur temporal, spatial and ontological registers offering a glimpse into undecipherable, yet affective, genealogies of "freedom dreams." Indeed, through the use of a conceptual frameworks that honours the "right to opacity," the author suggests that the obscured mythology and the abstracted aesthetics of Romaine la Prophètesse allow for a genealogical reading of queer spiritual ontologies that are part of larger Black diasporic freedom epistemes and that are demonstrated through contemporary Haitian queer designations and advocacy work. [ABSTRACT FROM AUTHOR]

Copyright of Ethnologie Française is the property of Presses Universitaires de France 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 Ethnologie Française is the property of Presses Universitaires de France 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 Romanian Journal of Intellectual Property Law / Revista Română de Dreptul Proprietăţii Intelectuale is the property of Universul Juridic Publishing House 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 Essays in French Literature & Culture is the property of University of Western Australia 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 Samuel Beckett Today / Aujourd'hui is the property of Brill Academic Publishers 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 translation of La Bible d'Amiens and Sesame et les Lys was a way for Proust to take an interest in religious art, but also to cultivate his own vision of art. Ruskin was for Proust a guide who participated in the support of his artistic self by transfering a certain number of aesthetic conceptions to which his mind would never have been able to access on its own. Proust succeeds in recognizing the decisive dimension of the Christian religion and its implications for Ruskin's aesthetics. Transcending the religious dimension, Proust realizes that Christian architecture, as understood by Ruskin, acquires a meaning other than religious, namely that of a past sublimated by the powers of art. Thus the historical dimension is annihilated in favor of an aesthetic perception of works from the past. Our article therefore aims to show how this experience of translation allowed Proust to deconstruct the aesthetic vision of the author of the translated text, while constructing a vision of art that is his own. [ABSTRACT FROM AUTHOR]

Copyright of Akofena is the property of Universite Felix Houphouet Boigny 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 Palíndromo is the property of Universidade do Estado de Santa Catarina 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 Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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 Akofena is the property of Universite Felix Houphouet Boigny 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 Akofena is the property of Universite Felix Houphouet Boigny 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 Ostium is the property of Ostium 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 Akofena is the property of Universite Felix Houphouet Boigny 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 Canadian Journal of Film Studies is the property of University of Toronto Press 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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 Canadian Journal of Occupational Therapy is the property of Sage Publications Inc. 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 Akofena is the property of Universite Felix Houphouet Boigny 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 Akofena is the property of Universite Felix Houphouet Boigny 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.)

La ceinture de l’Ogresse est une œuvre qui concentre la vision politique et esthétique de Rachid Mimouni. L’auteur y exprime, sur le mode ironique, un réquisitoire cinglant contre toutes les formes d’autorités qui ont condamné l’Algérie à végéter dans les ténèbres d’un système politique moyenâgeux insensible aux changements qui ont affecté le monde depuis les siècles des Lumières. Ainsi la révolte dans l’univers de Mimouni ne devient possible que par la désertion de l’espace public, condamnant l’artiste à une solitude morale et esthétique. Le présent article tente de montrer comment l’auteur déconstruit, par le moyen d'une ironie dialectique, le mythe révolutionnaire qui a accompagné la lutte algérienne pour l’indépendance en montrant qu’il y a eu rapt des idéaux révolutionnaires au profit d’une nomenklatura qui dirige, par la répression, le pays.

Purpose. This study aims to compare the effect of various smile parameters (buccal corridor, gummy smile, midline to face discrepancy, with and without upper lip filling) on the perception of smile attractiveness by applying the digital modification of images judged by one hundred and eighty laypersons from different Middle East populations. Materials and Methods. A frontal photo of a woman's smile is manipulated with Photoshop to modify each smile parameter gradually into 3 grades. The total number of smiles to be assessed is 18. One hundred and eighty participants divided into 3 groups (n=60: 30 men and 30 women): Lebanese, Syrian, and Egyptian laypersons are invited to assess the smile attractiveness before and after modification In addition, each evaluator must indicate which feature she or he finds most attractive in a face. Analysis of repeated measures variances followed by univariate analyses and multiple comparisons of Bonferroni are performed. Results: Eyes and smile are the most attractive elements in the face. For midline to face discrepancy, only Lebanese laypeople and Egyptian women prefer the coincidence of the midline to face compared with other positions with significant difference (p value <0.05). For a gummy smile, women of the 3 populations and the Syrian men tolerate a 2 mm gummy smile, and Lebanese laymen dislike any gingival exposure (p value <0.05). Egyptian men demonstrate no preference (p value> 0.05). Concerning the buccal corridor, its size does not influence smile attractive (p value> 0.05). Upper lip filling affected the perception of smile aesthetics for the midline (for Syrians and Egyptians). Conclusion: Sex and culture affect the perception of the smile attractiveness for certain parameters. Alteration of the buccal corridor does not seem to influence the smile attractiveness. Upper lip filling may be advantageous in some cases and unfavorable in others. Clinical significance: Dentists should take into consideration cultural differences when restoring smile aesthetics. [ABSTRACT FROM AUTHOR]

The aesthetic of the memorials affiliated with the political hegemony in Chile, has developed principally emphasizing the great deeds and magnanimous names from the dominant history. For its part, the aesthetic of political resistance emerged in contexts of social protest and repression, the raising of the figures of the dead, forgotten names, women and characters excluded from the account of traditional memory. From the study of the city, understood as a bordered space, where the accounts of the memories of hegemonies and resistance strain, this work proposes a theoretical and empirical discussion of the anti-monumental aesthetic, applied to the memorial erected in Santiago de Chile in homage to Mauricio Fredes, which is manifested as the text that subverts the feelings of commemoration, from the resistance. In this way, this work offers a reading from the perspective of the history of the present time, of the political, economic and social conditions that form the base of the wave of protests that occurred in Chile in October of 2019, which resulted in the death of Fredes, among others, whom the aesthetic of the memories of the resistance commemorate. [ABSTRACT FROM AUTHOR]

Copyright of Anthropologica is the property of CASCA 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 Signata is the property of Presses Universitaires de Liege 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 Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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 Imaginaires is the property of Universitaires de Reims 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 Philological Research & Studies. Romance Languages Series / Studii şi Cercetări Filologice. Seria Limbi Romanice is the property of Philological Research & Studies. Romance Languages Series 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 Literature / Literatura is the property of Vilnius University 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 Literature / Literatura is the property of Vilnius University 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.)