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The case study presents the work with authenticity in Gestalt psychotherapy through the tool of case formulation. The present case study explores an area of psychotherapeutic work that focuses on authenticity within the experiencing and awareness of the client and the psychotherapist and explores the authenticity of their mutual therapeutic relationship. The aim of this study is to present as much as possible about psychotherapeutic work with authenticity and its significance for the client's perception and further functioning. [ABSTRACT FROM AUTHOR]

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Copyright of Education Sciences & Society is the property of FrancoAngeli srl 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 Philologus -- Zeitschrift für Antike Literatur und Ihre Rezeption is the property of De Gruyter 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 question of whether tele‐analysis is an acceptable way of conducting analysis has been discussed since it has become available. Merchant (2016) and others concluded that 'the essentials of a genuine analytic process are not necessarily precluded' (p. 1). In this paper, the author goes a step further and examines potential advantages of tele‐analysis. There may be benefits for patients with a history of physical or sexual abuse who value the distance. The potential for a 'safe place' for work with erotic transference is also examined. In a further section the author is interested in allowing the analyst the freedom to practise in an authentic way, congruent with their personality. Also explored is the concept of the interactive field including the technological medium, which is subject to synchronistic events. Finally, the author gives examples of a deep connection between patient and analyst which came about despite the physical distance. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Analytical Psychology is the property of Wiley-Blackwell 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.)

Purpose - This paper examines the metadata practices of various types of memory institutions digitizing audio documents. Sound cultural heritage is not under the responsibility of any one Czech national memory institution to identify, describe, collect and preserve it, and so its digitization is carried out in different ways in different types of institutions. The theoretical basis of the present research study is the memory practices of G. C. Bowker. Through their perspective, we observe how the societal memory, represented as a digitized sound recording, is stored. Design / methodology / approach - Information on metadata practices was gathered through an online survey and from content analysis of a metadata sample. Four archives, two libraries, one museum, and one research organization participated in the research from a total of 20 contacted relevant institutions. Results - Memory institutions are building their digital collections and holdings based on two different variants of the modern concept of time. These are reflected both in their different missions and in the subsequent application of metadata practices and standards. The deterministic mechanical conception forms the computer memory regime; the transformative conception forms the database memory regime. Standards and rules for describing audio documents are as diverse as the mission of memory institutions, but again, one or the other variant of the concept of time can be identified behind them. Universal among institutions is the desire to preserve provenance information. The preservation of provenance information of the original physical media is widespread, involving in particular identification and basic description; context relating to specific features of the recording is more rarely preserved. The authenticity of digital documents does not receive much attention from memory institutions; the actual process of transformation of a digital document after digitization is unrecorded. Despite the fact that memory institutions digitize holdings primarily for research use, they do not create sufficient conditions for quality digital research. Originality / value - The paper highlights the importance of preserving provenance and contextual information about digitized sound documents, which is central not only to confirm the authenticity of the recording, but also to reconstruct historical events related to music and sound and to the establishment of the sound industry in our country. The paper also opens a perspective on the theory of memory practices that have not been introduced in the Czech environment yet. [ABSTRACT FROM AUTHOR]

Copyright of Acta Sting is the property of Akademie STING, o.p.s. 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 Czech Journal of Historical Heritage Preservation / Zpravy Pamatkove Pece is the property of Narodni Pamatkovy Ustav 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 Authenticity Studies: International Journal of Archaeology & Art is the property of Padova University 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 Authenticity Studies: International Journal of Archaeology & Art is the property of Padova University 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.)

The paper examines the potential influence of Wilhelm Dilthey on the works and thought of the Peruvian writer and ethnologist José María Arguedas. In 1953 Arguedas opened his ethnological article "Mountains in the Process of Peruvian Culture" with a quote from Dilthey's book of essays Experience and Poetry (1910). Despite the fact that the two authors are distant in space and time, their hermeneutic approach and, above all, their faith in art as the highest possible form of knowledge, brings their reflections together. Dilthey's triad experience -- expression -- understanding, which forms the core of the chosen quote, expresses the essence of art and its value: beauty, honest judgment, an authentic descent into the depth of linguistic expression and cultural identity. The three concepts also summarize Arguedas's lifelong efforts to use art to make the underestimated Quechua and mestizo cultures a legitimate part of modern Peru and art in general. [ABSTRACT FROM AUTHOR]

This paper aims to analyze the so-called disputes over authenticity which took place in the early 1990s, from the perspective of a political reading. It attempts to reconstruct the diferent meanings of the term authenticity and to show that these disputes were mainly politically motivated. Te frst part tries to fnd an explanation for the (declared) depoliticization of Czech literature and literary criticism afer 1989, in comparison with the broader (Central) European context and ‘anti-political politics’ of Czech dissent. The second part is focused on the discussion and polemics concerning authenticity in the context of literary magazines. It aims to analyze the positions of individual actors (Bílek, Fidelius, Janoušek, Špirit, etc.) in order to understand their political ramifcations. Te third part focuses on the popularity of so-called authentic (biographical) literature and on the ways in which Michal Viewegh employs it in his writings.

Nella tradizione epica giapponese, come pure nei racconti basati su eventi storici e tramandati di generazione in generazione, spiccano le figure di eroi la cui apoteosi coincide con la morte – talvolta autoinflitta tramite la pratica del seppuku, il taglio rituale del ventre. Vi sono certo motivazioni legate alle principali religioni e dottrine che hanno formato la cultura nipponica, come lo shintō, il confucianesimo e il buddhismo; ma soprattutto, alla radice dell’affetto che tali figure suscitano nella coscienza collettiva in Giappone, si intrecciano un senso di commozione per la transitorietà della vita e il riconoscimento di una purezza di intenti, di un’autenticità che si rende tanto più evidente ed esplicita quanto meno è sostenuta dalla vittoria, personale o politica. La fedeltà a una causa o a un ideale si misura non dall’utile che se ne ricava, ma dalla capacità di aderirvi con la totalità del proprio essere. La figura dell’eroe guerriero, perennemente esposto al rischio della morte, diviene quindi insieme al caduco fiore di ciliegio l’emblema della capacità di accogliere la pienezza nella vita, senza avvinghiarsi ad essa spasmodicamente e senza fuggirla o tradirla, lasciandola accadere e pure passare, sfiorire, tornare alla dimensione originaria, non ancora attualizzata.

Ponendo in triangolazione le pratiche militari del mondo premoderno, le ideologie delle “società di vergogna” (shame societies) e i plessi simbolici della poesia eroica universale, il presente articolo riattraversa il tema cruciale della morte precoce – subitanea rossa violenta –, momento di densità rivelativa mediante il quale il guerriero d’élite compie sé stesso e modella il finale della propria vita. Onnipresente e pervasiva nell’epica internazionale, l’ossessione della “bella morte” è un portato delle culture marziali fondate sul senso dell’onore e sul faccia a faccia. Morire anzitempo sul campo di battaglia è il modo con cui il combattente sconfigge la mortalità ordinaria, sottraendosi una volta per tutte all’avvizzimento della carne. Il trapasso glorioso e prematuro non soltanto costruisce la fama postuma del campione entro il quadro della memoria tribale, ma fissa perennemente il suo corpo nello splendore della bellezza giovanile, impedendone il decadimento. Vista in tale prospettiva, la morte precoce si pone come una delle prestazioni tramite le quali l’eroe milita contro le forze del preformale e del caos indifferenziato. Nelle società tradizionali il prode è sempre dalla parte dell’or-dine e della luce: le sue imprese personali, eseguite nel punto di massima visibilità, profilano la singol-arità del gesto individuale entro l’anonimo brulichio della mischia amorfa; il suo decesso – unico e grandioso – preserva il fulgore del corpo virile dall’usura dell’età e dall’ombra del disfacimento, agenti della corruzione che consumano gli uomini e li avviano, un giorno dopo l’altro, verso l’abisso del non-essere.

Sono ben note le conseguenze che l’introduzione delle nuove tecnologie (da quelle dei trasporti alle nuove tecnologie digitali) ha avuto sulla pratica turistica. Assai meno esplorato nella letteratura il problema delle conseguenze che l’evoluzione tecnologica registrata nella pratica turistica ha sulle capacità esplicative-interpretative di alcuni paradigmi di sociologia del turismo. Cercheremo di mostrare, con particolare riferimento a due paradigmi classici, vale a dire quello del “turismo come rito di passaggio” e quello del “turismo come ricerca di autenticità”, come una serie di importanti trasformazioni culturali che hanno accompagnato l’avvento di tali tecnologie costringano ad una ridefinizione, o quantomeno ad una maggior cautela, nell’uso di tali modelli.

Copyright of European Journal of Social Work is the property of Routledge 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 aims to analyze the so-called disputes over authenticity which took place in the early 1990s, from the perspective of a political reading. It attempts to reconstruct the different meanings of the term authenticity and to show that these disputes were mainly politically motivated. The first part tries to find an explanation for the (declared) depoliticization of Czech literature and literary criticism after 1989, in comparison with the broader (Central) European context and 'anti-political politics' of Czech dissent. The second part is focused on the discussion and polemics concerning authenticity in the context of literary magazines. It aims to analyze the positions of individual actors (Bílek, Fidelius, Janoušek, Špirit, etc.) in order to understand their political ramifications. The third part focuses on the popularity of so-called authentic (biographical) literature and on the ways in which Michal Viewegh employs it in his writings. [ABSTRACT FROM AUTHOR]

Graeme Macrae Burnet's His Bloody Project (2015) is formally a historical novel with elements of detective fiction and the thriller. The book playfully presents itself as a dossier consisting of ostensibly authentic documents related to the case of a triple murder committed by a young destitute peasant named Roderick Macrae in a small and remote crofting hamlet in the Highlands in 1869. The individual texts, written in different styles and genres, include medical reports, expert opinions, witnesses' testimonies, transcripts of the court proceedings and, most importantly, a memoir written by the culprit in his prison cell while he was waiting for the trial's sentence. This article discusses Burnet's novel and its skilful composition within the context of British literary tradition, but also shows how it exemplifies the determining tendencies in contemporary historical fiction. [ABSTRACT FROM AUTHOR]

The aim of this paper is to show how philosophical grammatical consideration can contribute to better understanding of rationality of religion, and increase respect, fair cooperation and dialogue between adherents of different religions and worldviews. I have picked three examples of such account: Wittgenstein's account of theology as grammar, Alvin Plantinga's criticism of classical foundationalism and Hilary Putnam's semantical externalism. In the second part of the paper, I analyse the connection between grammar, rationality, and authenticity. I show that understanding of this connection provides a rational ground for claiming the possibility of dialogue and fair cooperation with others even in case when their rationality is different from ours. [ABSTRACT FROM AUTHOR]

This article aims to analyze first the relationship between tourists and natives in a liminal area such as the villages built on the road that takes tourists to Mursiland, and the dialogical construction that derives from it, which is in all respects a representation, and secondly in which way tourism has changed external and internal relations in the Mursi society. The dialogue between these two groups, tourists and Mursi, gives rise to an image that is the product of both the expectations of the visitors, and the idea Mursi women, the main subject of the photos, have about these expectations. The outcome is a representation of the savage who often conflicts, given its aggressiveness, venality and unreliability with that of the kind, well-mannered Rousseau-an primitive. In this liminal area, with the mimesis of the wild Savage, the Mursi on the one hand enter the market economy and globalization, but maintaining some control in the process. On the other hand, they adapt their society by creating new figures of cultural brokers, as well as allow the weaker sector of society, girls and women, to acquire 'agency' and access to a new type of wealth, money, and not only cattle on which the Mursi's patriarchal society is based. [ABSTRACT FROM AUTHOR]

The article investigates the implications of the use of video projections in the popular music concert with two case studies: that of Kraftwerk, who develop a “double” aiming to de-humanize the performance, in line with the celebration of the machine and the android, crucial in their aesthetics; and that of Gorillaz, virtual band consisting of animated characters acting on screens or as holograms, while the “real” musicians stay hidden. The use of projections thus affects the ontological status of the author/performer, problematizing the concept of physical presence as a certificate of authenticity.

The goal of the paper is to use a particular piece of writing by Leopold Lahola in order to describe the principles of existential poetics seen in a wider sense, as opposed to the literary historical concept of existentialism. In the first part of the paper, what is pointed out is the key, nodal points of literary historical reflection on the works by Leopold Lahola, which were from the start linked with the poetics of French existentialism. Later, in the 1960s the opinion was reviewed through the optics of humanism, mainly functioning within the political background of the times. The research conducted in the period of the last two decades, however, shows how problematic these interpretations are. The hypothesis of the paper based on knowing the assumptions of philosophy of existence seen in a wider sense and intuitive reading of Leopold Lahola´s writings lies in interpretation of poetics present in the writings using the key of existential imagination, and the absence of this in the history of reflection on the author´s works is the reason why their aesthetic impact is not exactly understood. In order to understand the concept of existential poetics as much as possible, the analysis uses the only short piece of writing by Leopold Lahola titled Vtáči spev/Birdsong, which makes it possible to deal with literariness of the selected type on the fundamental level and to understand it likewise. [ABSTRACT FROM AUTHOR]

Rapid Response Collecting is part of the collecting activities of the Victoria and Albert Museum in London. The curators of this project select objects that are apparently banal and not very meaningful and exhibit them in a special section of the museum, which is nevertheless part of the Contemporary Product Design area. Their aim is to recall media events from the next past. The exhibition design is a mise-en-récit activating both personal and collective narratives through the exhibits. Moreover, it demands the viewer to observe an everyday object through an alienated sight as if it belonged to another culture. This case-study is the point of departure to reflect on the semiotic status of the exhibit in a design museum: most times, this is a sample of an object produced in series, becoming the trigger for a reflection on technological and social innovation. Thus, the object shows a “specific identity” connecting the sample to a model (Goodman 1976, Prieto 1988). In other cases, though still being a sample of an object produced in series, the exhibit shows a special and material connection with an event: the object can be thus considered a witness, because it has been touched by history and its main characters and can condense it in a simple material form. Authenticity has a different gradation depending on the kind of object that is examined; it becomes a rhetorical strategy, which is connected with forms of validation of the proof, whose final aim is to re-enact the event. The object can indeed be a simple pretext to tell a story, though not acquiring any value in itself, keeping being replaceable and valueless. Otherwise, the object can be presented as a unique occurrence showing on its body the traces of the event, endowed with the aura of uniqueness which is typical of the artwork.

Purpose - The article addresses the phenomenon of authenticity of digital documents and focuses in more detail on the issue of the authenticity of digitized books as a specific type of document. Currently there is no systematic conceptualization of the authenticity of digitized books in research literature. There are two objectives of the article. The first objective is to map the scope of the issues pertaining to authenticity in the context of the life cycle management of digitized books within an organization. For this purpose, the selected literature from the field of memory institutions is reviewed. The second and the main objective is to suggest an underlying conceptual framework for maintaining and assessing the authenticity of digitized books. Design/methodology/approach - The introduction of the article presents the concept of authenticity as a social construct developed by MacNeil and Mak. According to this concept, different authenticities of the same object may legitimately coexist depending on the perspective used. Then the archival concept of the authenticity of the digital document and the OAIS high-level framework for the digital documents' life cycle are introduced. Both resources are used as a basis for subsequent critical and conceptual analysis of literature. The analysis seeks for identifying fundamental conceptual elements pertaining to the concept of authenticity in the context of the life cycle of the digitized books. The outcomes of the analysis are the starting point for suggesting a conceptual framework for maintaining and assessing the authenticity of digitized books. This framework is based on the premise that establishing specific concept of authenticity is required for each type of document. Results - The main outcome of the paper is an underlying conceptual framework for the authenticity of digitized books. The suggested framework includes a redefinition of the concept of authenticity of the digital document, the introduction of the new term "reference object", and the specification of minimal attributes needed for expressing digitized book identity. All these components are the fundamental prerequisite for maintaining and assessing the authenticity of the digitized books. The conceptual framework implies that various approaches to the authenticity may be employed. This confirms the McNeal's and Mak's concept of legitimate co-existence of different authenticities of the same subject. Originality/value - There is still no systematic conceptualization of the authenticity of the digitized books describing all aspects and phases of the life cycle of the document in research literature. This paper presents the author's draft of an underlying conceptual framework for maintaining and assessing the authenticity of digitized books, which is unique in its complexity. [ABSTRACT FROM AUTHOR]

In this paper, reference is made to theongoing, great changes in the relationships between women and men following to the invention and widespread use of the contraceptive pill, the approval of the law legalizing divorce and the Italian Law 194, which has made voluntary termination of pregnancy legal. Relational changes also derive from the fact that, for the past thirty years, having sexhas not implied conception anymore; at the same time, thanks to medically assisted procreation, conceptionhas become possible without implying a sexual act between a man and a woman. A brief historical review of the relational patterns between women and men follows. The author maintains that the small, analytically-oriented group can be the most suitable setting where to rediscoverone's own identity - gender identity being an important part of it - or else, where to findit for the very first time. Feminine and masculine are relational constructs which can, therefore, be best defined through those identification and differentiation processes that are typical of group work. Working with the group and in the group makes it possible to overcome stereotypicalroles shaped by family and society and to attain authenticity in the woman-man relationship. Clinical situations are included to exemplify the author's assertions. [ABSTRACT FROM AUTHOR]

The contribution offers a brief survey of research on De domo and locates it in the changing landscape of Ciceronian studies. After a consideration of the old debate on the speech’s authenticity, it identifies four dominant lines of inquiry in recent scholarship on De domo. Il contributo offre una breve prospettiva di ricerca sul De domo di Cicerone, collocando l’orazione nel panorama in continua trasformazione degli studi ciceroniani. Dopo una riflessione sullo storico dibattito riguardante l’autenticità del dialogo, si identificano quattro campi di ricerca dominanti nella critica recente al De domo.

Copyright of Storia Urbana is the property of FrancoAngeli srl 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.)

Through an analysis of the novels written under the pen name Elena Ferrante and of the paratextual elements that surround them, this article examines the portrayal of Naples and its outskirts in these narratives, and how the specific geographical and cultural context is rendered and variously translated for different audiences. It argues that the concealment of the author's identity has enhanced the perceived authenticity of the texts, and that the emphasis on marginal backgrounds and subaltern characters entails a contradiction not dissimilar to the phenomenon that Huggan (2001) describes as ‘staged marginality’ in the context of postcolonial narratives. Ferrante's cultural specificity can therefore be read as a highly ambivalent discourse that entails both resistance and adherence to the mechanisms of a global market. Lastly, the article examines how the emphasis on dialect influences the process of translation for diverse readerships, showing the relevance of the ‘Ferrante project’ within world literature debates. [ABSTRACT FROM AUTHOR]

Copyright of Signa is the property of Editorial UNED 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.)

Text je zaměřen na teoretické pojetí současného vrcholového, médii prezentovaného sportu a zejména jeho zakotvení a role v soudobém kulturně-sociálním systému. Představuje teoretickou konceptualizaci dnešního sportu a rozpracovává odpověď na otázku, čím je v dnešní společnosti a kultuře sport ve své elitní podobě, a zároveň poskytuje příspěvek k diskusi, jak jej metodologicky uchopit. Pro spíše abstraktní povahu konceptu vrcholového sportu je zvláštní důraz kladen na postavení vrcholového, médii prezentovaného sportovce jako ideálního reprezentanta sportu tohoto typu. Pevné propojení sportovního diskursu a sportovce umožňuje zobecnit poznatky z analýzy role „sportovce“, reprezentované zejména v jeho mediálním obrazu, na charakteristiky dnešního vrcholového sportu.

V současném světe jsme všichni turisty - takové a podobné myšlenky se objevují ve vícero pracích Zygmunta Baumana či Johna Urryho. Michel Maffesoli ve své práci O nomádství píše o návratě pudu bloudění, v důsledku kterého se z každého stává cestovatel neustále hledajíci nějaké „jinde“. I pro mnoho jiných autorů je turista modelem pro moderního člověka obecně (MacCannell) a turismus tím, co ztělesňuje u moderního člověka hledání smyslu a stává se symbolem světa, ve kterém žijeme. V tomto textu se pokusíme reflektovat význam cestování a turismu v současné západní společnosti prostřednictvím koncepcí a teorií, které nám může zprostředkovat sociologie turismu jako v rámci sociologie relativně nová a zatím ne tolik rozšířená disciplína.

Uvažovat o tradiční lidové kultuře - omezené v tomto textu na koncept folklóru - jako o neživém dědictví minulosti by bylo nejen velmi zjednodušující, ale také matoucí. Na jednu stranu zde existuje mnoho lidí, aktuálně praktikujích folklór, kteří v něm nalézají osobní a univerzální zakotvení stejně jako pocit autenticity. Na druhou stranu, folklór a celý koncept tradiční lidové kultury je - navzdory svému antimodernismu - zřetelným produktem modernity, dokreslujícím obecné modernizační procesy jako urbanizace, industrializace a zvláště konstituce národního státu. Prostřednictvím četby příkladů oficiálních současných českých kulturních textů a zkoumáním rozvoje a institucionalizace místních folklórních hnutí se snažím ukázat neadekvátnost tvrzení o folklóru jako pouhém zkamenělém protonacionálním dědictví minulosti. Není to příběh muzejních exponátů, ale spíše příběh uchovávání, tvorby a racionálního plánování, útoků na autenticitu folklórního vyjadřování a nakonec i jeho krize. Znovuobjevení autenticity folklóru neznamená pouze uspokojení těch, kdo ho praktikují, ale také katarzi na konci metaforického narativu o smrti tradiční komunity, emancipaci moderního národního ducha a vymístění těch, kdo jsou vnímání jako uvízlí ve starém světě.