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New configurations of 2-D phased arrays are proposed in this paper for reducing the number of phase shifters. This design methodology is based on the use of a novel coherently radiating periodic structures (CORPSs) block for 2-D phased arrays. Two new antenna systems for 2-D phased arrays are studied and analyzed utilizing the CORPSs blocks of four inputs and nine outputs. These CORPSs feeding blocks are applied in a smart way to feed the planar antenna arrays by generating the required phase plane and reducing the number of control ports. Interesting results are provided based on the experimental measurements and full-wave simulations. These results illustrate a great reduction of the active devices (phase shifters), providing a good design compromise in terms of the scanning range and side lobe level performance. Furthermore, the provided results illustrate a maximum reduction capability in the number of phase shifters of 81%, considering a scanning range of ±30° in azimuth and ±30° in elevation. A raised cosine distribution is applied to reach side lobe levels of −19 dB for ±18° and −17 dB for ±30° in elevation. These benefits could be of interest to designers of phased antenna systems. [ABSTRACT FROM AUTHOR]

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Copyright of Synergy (1841-7191) is the property of Editura ASE 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 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.)

By discussing the bodily aspects of undersea immersion, this paper investigates the lived experiences of the photographer's body in space. To do this, it draws on the work of phenomenological philosophers who have theorized the body, such as Edmund Husserl, Edward S. Casey, Maurice Merleau-Ponty, and Gaston Bachelard, showing how the body is simultaneously active and passive in its environs. To make this point tangible, it examines a recent photographic work by contemporary Dutch artist Roosmarijn Pallandt, who attempts to capture her bodily sensations by submerging herself underwater while taking photographs. The paper argues that her photographic practice augments the bilaterality of the phenomenal body: being both a physical body (Körper) that needs to hold together kinesthetically and a lived body (Leib) that can go further proprioceptively. Consequently, by employing phenomenology vis-à-vis Pallandt's photographic practice, the author defines immersivity as being concurrently still and moving, static and dynamic, passive and active, that is: as being inactive in space. Following this line of argument, he puts forward that the bodily immersivity is an instance of sheer inactivity. [ABSTRACT FROM AUTHOR]

Quel est le sujet de la psychiatrie ? Professionnelles du service de psychiatrie de l'hôpital d'instruction des armées Sainte-Anne à Toulon, nous avons eu l'idée de formuler une première réflexion à trois, entre psychomotricienne, psychologue et psychiatre, autour du soin en psychiatrie, en supportant les nuances voire les divergences de nos pratiques. Notre présent travail ne prétend pas mener à une pensée univoque ; il s'impose d'une volonté de soutenir la nécessité d'une continuité des soins, du travail en commun, du décloisonnement des différents espaces où est entendu le sujet, devant la discontinuité qui touche aujourd'hui la psychiatrie en France. Notre fil rouge sera le transfert comme instrument nécessaire pour que puisse se produire dans la rencontre une parole inédite. What is psychiatry about? As professionals in the Department of Psychiatry of the Sainte-Anne Army Hospital in Toulon, we decided to formulate an initial three-way discussion between psycho-motor specialists, psychologists and psychiatrists on the subject of psychiatric care, bearing in mind the nuances and even the divergences in our practices. Our current work does not claim to lead to unequivocal thinking; it is based on a desire to support the need for continuity of care, for working together, and for decompartmentalizing the different areas where the subject of psychiatry is relevant, especially in light of the discontinuity that is present in the practice of psychiatry in France today. Our common thread will be transference as a necessary element so that this encounter can develop an unprecedented form of expression. [ABSTRACT FROM AUTHOR]

It is virtually impossible to conduct a holistic study of any religious phenomenon without considering its relationship with health, healing, and the body. In the case of New Age or self-denominated "Spiritual" groups, the role of health takes on an even more prominent role, acting as a soteriology or a cultural ideal. This paper focuses on the conceptions of the body, healing, and well-being held by members of the Serbian group "Spiritual Technology," founded by Živorad Mihajlović Slavinski in 1996, and their associated practices. Through an in-depth analysis of various texts authored by Slavinski, healing practices are considered as religious practices, divided into prevention and remediation practices, along with their subsequent stages (diagnosis, treatment, and prescription). Based on an energetic view of the body, where well-being and unwellness are concepts constantly renegotiated between healer and patient, the body is understood as composed of entities, which have been classified and divided in terms of their origin and their influences on humans. This research concludes that these ritualized practices contribute to the creation of ritual bodies as well as common narratives of corporeality, health, and even a shared worldview, serving as an interpretative framework to interact with the self and the surrounding world and, therefore, playing an important role in the formation of contemporary subjectivities. [ABSTRACT FROM AUTHOR]

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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.)

In a new study on hysteria, the author seeks what can be revealed in relation to the classic model of neurosis. It is from clinical experience that the emergence of projection leads us to think about its unique place and role within psychic functioning furthermore supported by repression and internal conflict. The bodily ailments so characteristic of hysterical symptoms arise then from a displacement of the same order when words fail. In certain situations, projection reverses this dominant tendency by the externalization of instinctual movements and the fantasies attached to them. [ABSTRACT FROM AUTHOR]

This work stems from a question that I have tried to answer. Is Les Murray, an Australian poet of great stature who is little known in France, an autistic person, as Daniel Tammet, who translated some of his poems into French, claims ? To answer this question, I had to take a closer look and explore the many facets of his life and work: his written work first of all, but also his numerous public readings and the many interviews he has given to various media. Along the way, I became convinced that Les Murray is more a case of melancholia, and thus his work constitutes a testimony of this terrible illness. I was then able to pinpoint some of its aspects: the pain of existing, the relation to the body, the misadventures of desire, and finally the suppletion found in writing: an everlasting body of poetry [ABSTRACT FROM AUTHOR]

New configurations of 2-D phased arrays are proposed in this paper for reducing the number of phase shifters. This design methodology is based on the use of a novel coherently radiating periodic structures (CORPSs) block for 2-D phased arrays. Two new antenna systems for 2-D phased arrays are studied and analyzed utilizing the CORPSs blocks of four inputs and nine outputs. These CORPSs feeding blocks are applied in a smart way to feed the planar antenna arrays by generating the required phase plane and reducing the number of control ports. Interesting results are provided based on the experimental measurements and full-wave simulations. These results illustrate a great reduction of the active devices (phase shifters), providing a good design compromise in terms of the scanning range and side lobe level performance. Furthermore, the provided results illustrate a maximum reduction capability in the number of phase shifters of 81%, considering a scanning range of ±30° in azimuth and ±30° in elevation. A raised cosine distribution is applied to reach side lobe levels of −19 dB for ±18° and −17 dB for ±30° in elevation. These benefits could be of interest to designers of phased antenna systems.

This article explores spatial, social and cultural boundaries in the hammams of the city of Marseille (France) based on the study of practices and representations of cleanliness, in relation to the spatial configurations of bathhouses and their location in the city. By adopting a conception of the frontier as a 'space' - physical or symbolic - where circulations and separations take place, I will question the way in which the hammams translate within them the boundaries of the society in which they are located. [ABSTRACT FROM AUTHOR]

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]

This article asks whether we need a posthumanist sociology, arguing that such a perspective can export a good deal of useful methodological and theoretical insight into the sociological toolbox. A posthumanist sociology is not a flattened ontology, in which we find agency in all things living and non-living. A posthumanist sociology asks instead what we do with the fundamental question of becoming both more and less human, following a surge of interest in decentring human exceptionalism. Moreover, a posthumanist sociology returns to the question of what it means to be an intersectional being, to proliferate the involvement of entities at the intersections of histories and social structures. Thus, it is a perspective that emerges from within the conditions of related crises, such as the COVID-19 pandemic. This pandemic has highlighted the need to decentre human exceptionalism, raising a challenge for sociologists to return to the premises of what it means to be a social being. In some sense, management of the pandemic already assumes a decentring. This article builds an argument by first reviewing what broadly constitutes a 'posthumanist' sociological perspective, then moves on to a case study of the interrelated human and non-human actors that constituted the early days of the COVID-19 pandemic outbreak. The case study usefully marks the intersection between human and non-human bodies as nodes in the interpretive production chain of this global event – one that acknowledges human extensions and connections to multispecies and ecological systems. Such interlinkages become foundational to interrogating what it means to become human in a posthuman world. The article ends on this posthuman question: under the posthuman condition, if we do not discern a difference between the human and other-than-human entities, how will this homogenization affect the human collective ability to enact and maintain cross-species and cross-entity protections? [ABSTRACT FROM AUTHOR]

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Copyright of ESSACHESS is the property of ESSACHESS 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 Res Historica is the property of Maria Curie-Sklodowska University in Lublin 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.)

Cet article explore les figures du corps dans le processus créateur de l'œuvre autobiographique de Georges Perec, W ou le souvenir d'enfance , et aussi Un homme qui dort. Il propose d'interroger la façon dont l'ombre des parents de Perec disparus dans sa petite enfance est tombée sur son corps et sur le corps de son écriture, en écho avec la fameuse expression de Freud pour définir la mélancolie : « l'ombre de l'objet est tombée sur le moi ». De façon générale, dans la continuité des travaux de Didier Anzieu sur le Corps de l'œuvre , mais à partir d'une autre hypothèse originale, cet article vise à définir le rôle joué par l'ombre de l'objet qui tombe sur le corps dans le processus créateur d'œuvres contemporaines. Un second objectif de cet article vise à interroger, à la lumière de l'évolution des paradigmes actuels de l'interprétation psychanalytique, une clef interprétative de l'œuvre de Perec, comme du processus créateur en général, articulée autour de la nécessaire représentation de l'absence de l'objet, au détriment d'autres modalités d'interprétation. La méthode d'écoute du texte littéraire s'inspire ici de la clinique analytique : cet article propose une lecture de W ou le souvenir d'enfance et de L'homme qui dort à la lumière d'une pratique analytique avec des patients qui, comme Perec, disent ne pas avoir de souvenirs d'enfance et apparaissent marqués par des deuils et/ou des traumatismes majeurs dans leur petite enfance. La clinique contemporaine nous confronte en effet particulièrement à des états de retrait de la subjectivité que tentent précisément de représenter de nombreuses formes de l'art contemporain : l'interaction entre une approche psychanalytique de l'œuvre de Perec et la clinique psychanalytique permet de mettre en lumière certaines particularités du processus créateur. Notre méthode consistera dans un premier temps à suivre le seul fil du texte de W ou le souvenir d'enfance , pour en écouter l'associativité, sans nous référer à des biographies de Perec. Il s'agira de se mettre à l'écoute des impressions sensorielles évoquées dans le texte, et de l'associativité de l'écrivain à partir de ses vécus corporels d'enfant. Cette contribution avance l'hypothèse du rôle joué dans le processus créateur par l'identification incorporative. L'ombre des corps des parents de Perec apparaît notamment dans la fiction autobiographique de W , écriture d'un corps en îlots éclatés : fragments de corps/mémoire concassés, fracassés, massacrés, pétrifiés, autant de traces énigmatiques de la présence des objets qui prennent une cohérence au fil de notre lecture. Selon cette perspective, l'écriture serait destinée, de façon inconsciente, à « désincorporer », pour ainsi dire, les objets pétrifiés dans l'écrivain, en tentant d'émerger d'une pétrification psychique. L'homme qui dort , fiction autobiographique en lien avec la fin d'adolescence de l'auteur, est habité par l'ombre de ce qui n'a pas eu lieu avec l'objet et ce texte invite le psychanalyste, notamment dans la clinique analytique avec des patients souffrant de dépression chronique, à tenter de dégager le patient des incorporats mélancoliques pour qu'il puisse sortir de la pétrification et réanimer sa vie psychique. Dans le processus créateur des deux livres de Perec, comme dans l'écoute de patients dans des problématiques limites, il s'agit de repérer une forme d'associativité dans l'enchaînement de sensations hallucinées, tels les signifiants formels qui relèvent de formes primaires de symbolisation et qui racontent en quelque sorte les modalités premières du lien à l'objet. Cette analyse du processus créateur à partir des figures du corps et du rôle joué par les identifications incorporatives permet de discuter une approche psychanalytique à partir d'une théorisation de la symbolisation de l'absence dans la cure dans la présence/absence de l'analyste qui permettrait de faire le deuil de la mère. L'œuvre autobiographique de Perec résonne avec l'écoute analytique de certains patients qui disent aussi ne pas avoir de souvenir d'enfance. Une façon d'écouter les vécus de blanc, d'effacement, ou encore d'anéantissement, avec des zones de retrait de la subjectivité, consiste à écouter la façon dont l'ombre de l'objet est tombée sur le corps du patient... Le travail analytique consiste à tenter de tramer les vécus corporels disparates à des fragments de souvenirs en lien avec l'objet, bref à recontextualiser des impressions sensorielles dans l'histoire des liens précoces du patient aux objets. La dynamique de l'acte créateur, dans l'écriture comme dans la cure, renvoie ainsi à une contrainte interne de donner forme et sens à des vécus traumatiques enracinés dans le corps. This article delves into an understanding of the figures of the body in the creative process of Georges Perec's autobiographical work, "W or the Memory of Childhood," as well as "A Man Asleep." It seeks to examine how the shadow of Perec's parents, who disappeared during his early childhood, cast itself upon his body and his writing, resonating with Freud's famous expression to define melancholy: "the shadow of the object has fallen upon the ego." Drawing inspiration from Didier Anzieu's work on the "Body of the Work," this article aims to define the role played by the shadow of the object that falls upon the body in the creative process of contemporary works. Additionally, it aims to explore an interpretative key for Perec's work and creative processes in general. This exploration takes place in light of the evolving paradigms of current psychoanalytic interpretation, focusing on the crucial representation of the object's absence, as opposed to other modes of interpretation. The method employed for "listening" to literary texts draws inspiration from clinical psychoanalysis. This article proposes an examination of "W or the Memory of Childhood" and "A Man Asleep" through the lens of psychoanalytic practice with patients who, like Perec, claim to lack childhood memories and show signs of being marked by significant losses and/or traumas during their early years. Contemporary clinical practice often encounters states of subjective withdrawal that numerous forms of contemporary art attempt to represent. The interaction between a psychoanalytic approach to Perec's work and psychoanalytic clinical work can shed light on certain particularities of the creative process. The focus will be on listening to the sensory impressions conveyed in the text and the writer's associations stemming from his bodily experiences as a child. This contribution puts forth the hypothesis of the role played in the creative process by incorporative identification. The shadow of Perec's parents' bodies is particularly evident in the autobiographical fiction of "W," where the writing portrays a body fragmented into shattered islands – memories and body parts crushed, wrecked, and petrified. These enigmatic traces of object presence gradually gain coherence as we progress in our reading. According to this perspective, the writing is unconsciously driven to "disincorporate," so to speak, the petrified objects within the writer, attempting to emerge from psychic petrification. In "A Man Asleep," another autobiographical fiction related to the author's late adolescence, the shadow of what did not take place with the object inhabits the narrative. This text encourages the psychoanalyst, particularly in clinical practice with patients suffering from chronic depression, to try to release the patients from melancholic incorporations, enabling them to break free from petrification and revitalize their psychic life. In the creative process of Perec's two books, as well as in listening to patients with borderline issues, the aim is to identify a form of associativity in the sequence of hallucinated sensations, much like the formal signifiers that stem from primary forms of symbolization. These signifiers somehow narrate the initial modalities of the relationship with the object. This analysis of the creative process based on the figures of the body and the role played by incorporative identifications opens up a discussion on a psychoanalytic approach centered around the theorization of the symbolization of absence in the therapeutic process, specifically in the presence/absence of the analyst. This approach could facilitate the process of mourning the mother. Georges Perec's autobiographical work resonates with the analytical listening to certain patients who also claim to have no childhood memories. One way of listening to experiences of blankness, erasure, or annihilation, with zones of withdrawal from subjectivity, involves paying attention to how the shadow of the object has fallen upon the patient's body. The analytical work consists of attempting to weave together disparate bodily experiences with fragments of memories related to the object, essentially recontextualizing sensory impressions within the history of the patient's early attachments to objects. The dynamics of the creative act, both in writing and in therapy, thus involve an internal constraint to give form and meaning to traumatic experiences rooted in the body. [ABSTRACT FROM AUTHOR]

H.P. Lovecraft (1890–1937) est un écrivain américain dont l'œuvre a renouvelé la littérature fantastique et inauguré un genre nouveau. Son maître premier est Edgar Allan Poe mais il a été également influencé par Lord Dunsany ou Arthur Machen. Auteur de très nombreux romans et nouvelles, mais aussi d'une correspondance riche de plusieurs dizaines de milliers de lettres (on dit jusqu'à 100 000 !), son monde est hanté par la dégénérescence des corps, la dissolution des limites de la réalité, la dangerosité de l'Autre et l'angoisse intense qu'il provoque. Préférant le contact médié par l'écriture à la présence physique réelle, Lovecraft fait état d'une xénophobie généralisée tendant au racisme et fondée sur le dégoût du corps de l'autre. L'objectif de ce travail est de saisir la dynamique psychique de cet écrivain de deux points de vue : celui de la psychopathologie et des différents diagnostics qui ont été émis et celui de sa capacité créative. L'histoire personnelle de H.P. Lovecraft ainsi que son œuvre littéraire, sa correspondance et les témoignages de personnes de son entourage servent de matériel pour décrypter chez lui le processus de création, les signes de sa position subjective ainsi que ceux pouvant relever du registre de la psychopathologie. L'écriture, dès l'enfance, a représenté pour Lovecraft une sauvegarde contre les dangers du monde extérieur, l'écran qui le protégeait du contact avec les autres et donc aussi du réel. Le génie littéraire de Lovecraft est absolument indissociable de son être. Lovecraft est devenu par ses propres moyens un être d'écriture, un scriptêtre plutôt qu'un parlêtre. Les hypothèses sur sa (psycho)pathologie, nombreuses et parfois contradictoires, ne peuvent en aucun cas rendre compte de son talent littéraire. Ce sont plutôt ses rêves qui le guident dans l'écriture de ses nouvelles. Davantage qu'un art, plus qu'une mise en forme de son angoisse, plus encore qu'un dépôt et un vidage de jouissance, l'écriture pour Lovecraft dresse l'écran imaginaire sur lequel le réel insupportable est signifié et saisi en tant que réalité. L'écriture est pour lui un exercice addictif, continu, protecteur et nécessaire : il ne cesse pas d'écrire. Par son extraordinaire ampleur – romans et correspondance –, elle prend précisément la place de l'imaginaire et c'est par elle que sont noués pour l'écrivain les registres du symbolique et du réel. Ainsi, chez lui, le rêve devient-il une source directe et continue de création. La sorte d'autobiographie constituée peu à peu dans sa correspondance, les témoignages de ceux et celles qui l'ont connu, ainsi que la lecture de son œuvre, ont permis d'établir à son propos différents diagnostics psychopathologiques qui seront soumis à discussion. Le parcours personnel de Lovecraft est celui d'un créateur malheureux sans doute, mais dont le travail d'écriture contribua néanmoins à la sauvegarde. Car c'est aussi d'un extraordinaire parcours d'autothérapie qu'il s'agit. Lovecraft ne connut pas la gloire ni la fortune de son vivant, mais ne pouvant faire autrement, il écrivit sans cesse jusqu'à sa mort, sans se préoccuper vraiment de réussite. L'écriture, dès l'enfance, a représenté pour lui une sauvegarde contre les dangers du monde extérieur, l'écran qui le protégeait du contact avec les autres et donc aussi du réel. Pour lovecraft, l'écriture fait sinthome et il parvient à se constituer un public, certes réduit, mais intelligent et admiratif, sur lequel il s'appuie pour construire peu à peu, mais assez vite, un réseau de relations sociales, d'abord médié par l'écriture puis, au fur et à mesure, de plus en plus direct. H.P. Lovecraft (1890–1937) was an American writer whose work renewed fantasy literature and inaugurated a new genre. His first master was Edgar Allan Poe, but he was also influenced by Lord Dunsany and Arthur Machen. Author of numerous novels and short stories, but also of a rich correspondence of several tens of thousands of letters (as many as 100,000, according to one count!), his world is haunted by the degeneration of bodies, the dissolution of the limits of reality, and the danger of the Other and the intense anguish that it provokes. Preferring the mediation of writing to the real physical presence, Lovecraft expresses a generalized xenophobia tending to racism and based on the disgust caused by the body of the other. The objective of this work is to grasp the psychic dynamics of this writer from two points of view : that of psychopathology and the various diagnoses that have been made, and that of his creative capacity. Lovecraft's personal history as well as his literary work, his correspondence, and the testimonies of people around him are used as material to decipher his creative process, the signs of his subjective position as well as those that could be related to psychopathology. Writing, from childhood on, represented for Lovecraft a safeguard against the dangers of the outside world, the screen that protected him from contact with others and therefore also from reality. Lovecraft's literary genius is absolutely inseparable from his being. Lovecraft became by his own means a being of writing, a scriptbeing rather than a talkbeing. The hypotheses about his (psycho)pathology, numerous and sometimes contradictory, can in no way account for his literary talent. It is rather his dreams that guide him in the writing of his short stories. More than an art, more than a formatting of his anguish, more than a deposit and emptying of jouissance, writing for Lovecraft sets up the imaginary screen on which the unbearable real is signified and seized as reality. Writing is for him an addictive, continuous, protective, and necessary exercise : he never stops writing. By its extraordinary extent – novels and correspondence – it occupies the place of the Imaginary, a space where the registers of the Symbolic and the Real are linked together. Thus, for him, the dream becomes a direct and continuous source of creation. The sort of autobiography that has gradually emerged from his correspondence, the testimonies of those who knew him, as well as the reading of his work, have made it possible to establish various psychopathological diagnoses about him that will be submitted for discussion. Lovecraft's personal journey is that of an unfortunate creator, but one whose writing nonetheless contributed to his survival. For it is also an extraordinary journey of self-therapy. Lovecraft did not achieve fame or fortune during his lifetime, but since he could not do otherwise, he wrote incessantly until his death, without really worrying about success. Writing, from childhood, represented a safeguard against the dangers of the outside world, the screen that protected him from contact with others and therefore also from reality. For Lovecraft, writing is a sinthome and he managed to build up a public, admittedly small, but intelligent and admiring, on which he relied, allowing for the gradual construction of a network of social relations, first mediated by writing and then, as time went by, more and more directly. [ABSTRACT FROM AUTHOR]

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Copyright of Alsun Beni-suef International Journal of Linguistics, Translation & Literature / Mağallaẗ Kulliyyaẗ Alsun Banī Swaīf Al-Dawliyyaẗ Li Luġawīyāt wa Al-Tarğamaẗ wa Al-Adab is the property of Beni Suef 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.)

Cet article met en perspective la question du regard et le processus de subjectivation adolescent. Que veut dire voir et être vu lors de ce moment si particulier de l’existence qu’est l’adolescence ? Suite aux métamorphoses de la puberté, la question du regard sur un corps qui se transforme et échappe au sujet peut être source d’angoisse et amène parfois l’adolescent à le cacher ou à l’exhiber. À partir de monographies rédigées au cours de sa pratique professionnelle d’enseignante d’éducation physique et sportive au lycée, l’auteure revisite les trois temps de la pulsion scopique pour comprendre les difficultés qu’ont les adolescents à retisser un imaginaire percuté par le réel de l’irruption pubertaire.

Dans l'anorexie mentale, les préoccupations corporelles sont un enjeu clé de la pathologie, mais aussi de la thérapeutique. Il est, à ce jour, établi que la perception de soi serait modulable par des interventions centrées sur le toucher. Dans ce contexte et avec l'appui de recherches en psychiatrie et en psychologie, nous posons la question de la place de l'ostéopathie en tant qu'aide à la remédiation physico-psychique. Nous avons réalisé le suivi de 40 patientes souffrant de troubles du comportement alimentaire et réparties en quatre sous-groupes de dix sujets non randomisés durant dix semaines afin d'évaluer la valeur ajoutée de l'ostéopathie vis-à-vis de la psychomotricité sur les préoccupations corporelles. À l'issue de la prise en charge, nous observons une diminution des préoccupations corporelles pour les sujets du groupe psychomotricité (p < 0,05) et ceux du groupe de double suivi ostéopathie-psychomotricité (p < 0,05). Le groupe ostéopathie ne montre pas d'amélioration suffisante vis-à-vis du groupe témoin (p > 0,34). Les résultats et les limites de la présente étude sont discutés, ainsi que les recommandations pour des recherches ultérieures. Anorexia nervosa is a psychosomatic disorder that mainly concerns women where body image and corporal sensations are questioned. For these patients, their morphology is an obsessional issue and they tend to ignore sensorial perceptions such as hunger or pain. Treatment remains extremely complex, in spite of the vast expanse of relevant specialities, and a close coordination of soma and psyche mediations is required. In fact, it has been proven that for anorexics, there is a strong link between the image of their degraded body and sensorial disorders. These phenomena also concern the structures of the interceptive system. Therefore, the body's perceived shape is a key issue not only in the pathology but also in the therapeutic intervention. To date, it has been established that self-perception can be modulated by interventions focused on touch. In this context and with the support of research in child psychiatry and psychology, we raise the question of the place of osteopathy as an aid in physico-psychic remediation. Our goal is to develop a therapeutic mediation covering the somatic phenomena induced by the muscular frame so as to demonstrate a possible improvement in how anorexics perceive their own morphology. We included 40 patients suffering from eating disorders in our experiment forming a heterogeneous age-group and respecting the minimum threshold. During the ten weeks of the trial, the group was divided into 4 subgroups of 10 non-randomized participants each and based on voluntary participation with one subgroup of 10 patients as a control group, one subgroup of 10 patients treated exclusively using psychomotricity, a third subgroup of 10 patients evaluated exclusively using osteopathy, and a fourth subgroup of 10 patients using a mixed approach. We relied on the "Body Shape Questionnaire" (BSQ-34) to conduct our comparative measurements. It is a reference psychometric tool for measuring bodily concerns, and the French version has been validated and is commonly used. At the end of our ten-week treatment period, we observed positive results for psychomotricity (P < 0.05) and a double osteopathy-psychomotricity follow-up (P < 0.05), but osteopathy alone does not show sufficient improvement compared to the control group (P > 0.34). In view of the results obtained with our patients, the modulations of bodily concerns among those participants treated by touch appear to be effective in the intra-group, but our approach could require extended treatment for more than 10 weeks with regard to intergroup comparisons. Osteopathy must, like the other bodily mediations already involved in the follow-up of anorexia nervosa before it, establish the extent of its contribution to and value in this pathophysiology. [ABSTRACT FROM AUTHOR]

Cet article s'intéresse au signe du miroir en tant qu'élément de la sémiologie psychiatrique. Considéré comme prodrome de la schizophrénie lors de sa description entre 1927 et 1930, l'article veut éclairer son devenir dans l'époque actuelle notamment au regard des modifications de la société concernant le rapport du sujet à son image comme à son rapport à l'identité. Après être revenu sur l'histoire de la découverte et de la description de ce signe, afin d'en éclairer les origines et d'en retenir quelques éléments essentiels, nous reprenons l'hypothèse d'un lien entre défaillance du « stade du miroir » lacanien et apparition du signe du miroir. Des liens entre description princeps, fréquence des troubles de l'image du corps dans la psychose, et conséquence du stade du miroir sur l'identité symbolique sont éclairés. Quelques fragments cliniques viennent questionner l'hypothèse dépliée. Le signe du miroir est apparu au début du 20e siècle comme étant pronostic de la schizophrénie. Les aliénistes le relient à l'homosexualité, considérée alors comme pathologique. Il apparaît aujourd'hui que la clinique des troubles qui peuvent y être référés dans une acception large du phénomène ressortent plus d'une disjonction entre image du corps et identité. Ce signe peut être heuristiquement mis en perspective avec le propos lacanien déplié dans « Le stade du miroir comme formateur de la fonction du Je », et avec l'hypothèse que la structure psychotique offre aussi aux sujets des possibilités de réponses symptomatiques non standards. Le signe du miroir et les réponses subjectives qui en découlent éclairent une partie de la clinique des sujets cherchant à se créer, par un travail sur leur image, sur leur corps, une identité nouvelle, pour répondre à une disjonction initialement ressentie entre image et identité. Si le signe du miroir est à l'origine d'un nombre de réponses subjectives visant à modifier réellement le corps pour le faire conjoindre à une identité nouvelle, et par là porteur de solutions néo-identitaires viables, il ne s'éprouve pourtant pas sans un certain malaise. Rien ne permet de prédire son devenir, et l'action thérapeutique se limite à repérer ce signe et soutenir les éventuelles élaborations des sujets qui visent à produire une conjonction entre image et identité. Le signe du miroir, cent ans après sa découverte, constitue encore un élément de sémiologie psychiatrique extrêmement pertinent. S'il ne constitue pas nécessairement un prodrome de la schizophrénie, il traduit avant tout une difficulté du sujet à faire conjoindre son image avec son identité. La réponse symptomatique du sujet ne nécessite pas la validation du clinicien, elle témoigne d'un malaise subjectif qui lui, peut trouver à être accueilli, quelle que soit l'issue de ce signe. This article focuses on the "mirror sign" as an element of psychiatric semiology. Considered as a prodrome of schizophrenia during its description between 1927 and 1930, the article aims to shed light on its contemporary relevance, particularly with regard to changes in society concerning the subject's relationship to their image as well as the relationship to identity or self. After reviewing the history of the discovery and description of this sign, in order to shed light on its origins and on some essential elements, we take up the hypothesis of a link between a failure of the Lacanian "mirror stage" (stade du miroir) and the occurrence of the sign of the mirror. Links between original description, the frequency of body image disorders in psychosis, and the consequence of the mirror stage on symbolic identity are clarified. A few clinical fragments allow us to question the unfolding hypothesis. The mirror sign appeared at the beginning of the 20th century as a prognosis for schizophrenia. Alienists linked it to homosexuality, then considered pathological. It appears today that the clinical class of the disorders that can be referred to this sign emerges essentially from a disjunction between body image and identity. This sign can be heuristically put into perspective with the Lacanian statement unpacked in " Le stade du miroir comme formateur de la fonction du Je ," and with the hypothesis that the psychotic structure also offers subjects the possibility of non-standard symptomatic responses. The sign of the mirror and the subjective responses that result from it shed light on what it is that some subjects seeking to create, by working on their image, on their body, a new identity, to respond to an initial perceived disjunction between image and identity. If the sign of the mirror inspires a large number of subjective responses aimed at modifying the body to make it conform to a new identity, and thereby carrying viable neo-identity solutions, it is not experienced without some discomfort in most cases. Nothing makes it possible to predict its future, and the therapeutic action is limited to identifying this sign and supporting the possible elaborations of the subjects who aspire to produce a conjunction between image and identity. One hundred years after its discovery, the mirror sign, is still an extremely relevant element of psychiatric semiology. It does not necessarily constitute a prodrome of schizophrenia, but it indicates a subjective difficulty in associating image with identity. The symptomatic response of the subject does not require the validation of the clinician; it is linked to a subjective malaise, which can be welcomed, whatever the outcome of this sign. [ABSTRACT FROM AUTHOR]

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]

Copyright of Estilos da Clínica is the property of FEUSP - Faculdade de Educacao da USP - Universidade de Sao Paulo 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.)

Le corps est une construction sociale et culturelle ; il est et devient davantage un objet de plusieurs représentations et d’imaginaires. C’est pour ces raisons que les individus arrivent à le manipuler et le transformer selon les besoins collectifs ou personnels. Dans l’ordre de ces différentes façons de manipuler le corps, nous avons la pratique du tatouage qui a fait l’objet de notre étude. Dans cette réflexion, nous avons cherché à savoir quel sens les individus donnent au corps quand ils le font tatouer.

La littérature scientifique, mais également les cas médiatiques font aujourd’hui état de pratiques délinquantes toujours plus variées liées à l’utilisation des technologies numériques. Ces atteintes à la personne, qui remettent en question la dignité et la réputation de l’individu, prennent de l’ampleur en Turquie. On constate une recrudescence des agressions en ligne (ex. vol de données…) mais aussi des atteintes à l’image par lesquelles les représentations du corps de la victime se voient partagées, de manière non consentie, avec une foule d’anonymes. Ainsi, malgré l’inexistence d’une quelconque « corporalité » dans l’espace numérique, les cyberviolences semblent systématiquement porter sur le corps et par là, visent à remettre en question non seulement l’image sociale (la réputation) mais aussi l’image personnelle (la dignité humaine) de la personne. Dans cet article, il s’agira tout d’abord de rendre compte de la littérature scientifique en Turquie et de voir comment les cyberviolences ont été appréhendées dans ce contexte. Puis, dans un deuxième temps, à partir de cas journalistiques, nous proposerons une vue d’ensemble des cas d’atteinte à l’image recensés en Turquie entre 2017-2022. Nous tenterons de dégager les récurrences liées aux violences numériques relevant des atteintes à l’image sociale. Enfin, nous nous pencherons sur les réponses juridiques et judiciaires proposées par les instances turques en vue de combattre ces phénomènes.

La sensorialité tient plusieurs fonctions dans l’élaboration psychique de l’individu autiste et dans son évolution psychique au cours de sa prise en charge thérapeutique. Nous suivons dans cette recherche l’idée de la transformation d’un usage défensif de la sensorialité en un processus mutatif, d’une construction du moi corporel, ainsi qu’un travail de symbolisation primaire, d’inscription, de représentation et de figurabilité.Avec la psychothérapie d’un enfant autiste en institution, nous explorons les fonctions de la sensorialité sur la base de l’attention particulière portée aux éprouvés corporels dans la dimension transférentielle et contre-transférentielle. Celle-ci permet au thérapeute d’éprouver les angoisses en lien avec des expériences sensorielles primaires. En s’appuyant sur la résonnance contre-transférentielle des différentes angoisses du patient, une sensorialité partagée aide à la métabolisation des éprouvés de catastrophe primitive ayant entravé l’organisation d’un sentiment continu d’exister. Cette dynamique thérapeutique ouvre sur de nouvelles perspectives psychiques et relationnelles.

Les caractéristiques usuelles de l’anorexie mentale — inanition, amaigrissement, aménorrhée — justifient que celle-ci soit prise en compte, du point de vue psychopathologique, bien plus en tant que “clinique de l’objet” que comme “dysfonctionnement alimentaire” ou “trouble de la représentation corporelle”. En effet, est mis ainsi en lumière non seulement le fait que la nourriture y vient présentifier l’“objet du désir” sous la forme du “rien”, mais aussi le fait que si le corps du sujet anorectique se consume, c’est parce qu’il est le siège d’une jouissance spécifique de la position féminine, d’une “jouissance Autre”, qu’il contribue paradoxalement de la sorte à contenir et à pacifier.

La question de la relation entre le point et l'étendue en géométrie résonne, dans la pensée de Leibniz, avec celle du lien entre la substance simple avec le corps matériel dont elle est l'élément constitutif d'un point de vue métaphysique. En effet, comment ce qui est indivisible et sans dimension pourrait-il être le principe de ce qui se présente, au contraire, comme toujours divisé et étendu? Si la philosophie tardive de l'auteur, une fois devenue monadologie après 1700, rencontre en cela un problème presque insurmontable, il ne semble pas en être de même dans les années 1690. Cet article propose de montrer comment, vers 1695, une solution originale en est fournie qui renvoie aux innovations mathématiques de cette période, au sujet du point, de l'étendue et, de façon centrale, de la continuité, étoffant ainsi la toile qui unit les mathématiques de Leibniz avec sa philosophie. [ABSTRACT FROM AUTHOR]

This work reviews the design and applicability of beam-forming networks based on Coherently Radiating Periodic Structures (CORPS-BFN) at Terahertz (THz) frequency bands. These versatile networks offer two operation modes: a continuous beam steering – feeding an antenna array with a linearly progressive phase distribution – using a reduced number of phase controls; or a multi-beam operation, generating independent, overlapped beams. These networks are built upon the concatenation of power combiners/dividers (PCDs) with isolated outputs. The isolation is provided by monolithically integrated resistors, implemented with Ti/TiO 2 thin films for the first time. In this work, a planar prototype of a 2 × 3 (inputs/outputs) microstrip CORPS-BFN for operation in the WR3.4/WM-864 band (220–330 GHz) on a thin 50 μ m Indium Phosphide (InP) substrate is designed, fabricated, and characterized. The measured S-parameters show a reflection coefficient better than -15 dB and an insertion loss between 1.6 and 3.2 dB in the whole band. In addition, an isolation better than 20 dB between the input ports has been measured. An overall remarkable agreement is observed between the measurements and the simulations. Last, the applications, scalability and efficiency of this type of networks at the targeted band are discussed in detail. [ABSTRACT FROM AUTHOR]

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.)

This paper presents a new design technique to improve the reduction of phase shifters using sub-arrays and CORPS (coherently radiating periodic structures) technology. The CORPS network generates the values of cophasal excitation with reduced input ports. These values feed an optimal sub-arrays structure. Furthermore, fixed and variable amplifiers allow a low SLL (side lobe level) by using a raised cosine amplitude distribution along sub-arrays inputs. The theoretical model of CORPS-Subarrays, numerical and experimental results of several design cases are presented. The proposed design achieves a ±14° scanning range with a higher reduction of phase shifters than other techniques presented previously in the state of art. This paper illustrates, as a contribution, the complete antenna system based on the fabrication of a prototype and experimental results to analyze the reduction capacity of phase shifters and scanning possibilities of the proposed methodology in antenna arrays. The experimental results of the BFN (beam-forming networks) prototype at 6 GHz for 11 antenna elements and 3 phase shifters are provided. The proposed design achieves a reduction of 72% of phased shifters with ±14° beam scanning and −15 dB of SLL.

Dans Héros-Limite, Ghérasim Luca, l'un des fondateurs su surréalisme roumain, essaie de nous faire entendre une voix érotique via les bégaiements et les multiples formes de l'oralité dont regorge le poème. Tout en faisant appel aux concepts de la sémiotique du corps, nous présentons une lecture sémiotique qui mette l'accent sur le rôle du corps dans la constitution du sens du poème et surtout sur le fonctionnement et les tensions des instances discursives dont le discours est le champ d'exercice: si le Moi-chair s'avère la voix du corps proférant et érotique, le Soi-ipse quant à lui tient souvent à le contrôler ,tout en conservant jusqu'au bout le projet énonciatif qui est la narration d'un acte d'amour tandis que le Soi-idem s'identifie au Moi et garantit les répétitions discursives .Le bégaiement serait à cet égard, non seulement un phénomène phonostylistique mais est plutôt considéré comme le plan d'expression d'une sémiotique de l'oralité dont le plan du contenu est érotique. في قصيدة Héros-Limite ، يحاول Ghérasim Luca جيرازيم لوكا ، أحد مؤسسي السريالية الرومانية ، أن يسمعنا صوتًا ذا إيحاء جنسي من خلال التلعثم والأشكال المتعددة للشفهية التي تزخر بها القصيدة. من خلال استخدام مفاهيم سيميائية الجسد، نقدم قراءة سيميائية تؤكد على دور الجسد في تكوين معنى القصيدة وخاصة على أداء وتوترات الكيانات الخطابية التي تتشكل فى داخل الخطاب الشعري. إذا تبين أن الجسد الأنا هو صوت الجسد المتلفظ والمثير، أما الهو أو الذات فهى غالبًا ما ترغب في السيطرة علي الأنا ، مع الاحتفاظ حتى النهاية بالمشروع التلفظى وهو سرد فعل الحب بينما الهوية التكراريه فهى تتماهى مع الأنا وتضمن التكرار الخطابي ومحتواه الجنسي

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 Estilos da Clínica is the property of FEUSP - Faculdade de Educacao da USP - Universidade de Sao Paulo 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 Estilos da Clínica is the property of FEUSP - Faculdade de Educacao da USP - Universidade de Sao Paulo 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.)

In very rare cases, individuals survive the atrocities of abduction, imprisonment and torture that are part of the hallmark of enforced disappearances. Cases of people who survive torture and seek asylum in a third country help us understand some important aspects related to the crime of enforced disappearance. In the psychotherapy of torture survivors, at an early stage and for a long time, words often do not convey the core of the patient's experience. Survivors usually have tormented bodies in which individual and collective violence, hatred, anger, guilt and shame are painfully inscribed. Corporeal countertransference becomes the only possible way for a therapist to get in touch with a survivor's experience through a kind of body‐to‐body communication. The centrality of the body in these therapies suggests that the body is the involuntary recipient and container of mass political atrocities and, for this reason, the place where, in the case of horrific social violence, the possibility of social "knowing" is stored and can be retrieved. Thus, when it comes to forced disappearance, the determination of the relatives to get to the truth through the discovery of the remains of their disappeared demonstrates the importance of the body as the final witness of what happened, beyond any possible manipulation. [ABSTRACT FROM AUTHOR]

Comment s'est organisée, autour de l'absence des corps liée au confinement, la prise en charge thérapeutique, au BAPU du Centre Claude Bernard, d'une étudiante selon une approche trimodale : la consultation, la psychopédagogie, la relaxation thérapeutique ? Between January 2019 and December 2022, a student (named L.A.) doing a BTS (a senior technologist's certificate) in Management was treated using a trimodal system of care by the BAPU of the Claude Bernard Center. How was this original system organized, and how did changes related to the lockdown of March–May 2020 allow for progress in the proposed treatment? The consulting psychologist, Ms. Beaudré, received the initial request: L.A. had multiple difficulties (learning, language, social, psychic, somatic, etc.). Rapid guidance was recommended in an individual space dedicated to educational psychology, while continuing with consultations. In the educational psychology space, L.A. met with Mr. Sanchez and first explained to him her concerns about her difficulties with the French language, her rejection of her mother tongue and her accent. Her learning difficulties made her fear she would fail the BTS. L.A. had low self-esteem. At the start of the lockdown of March–May 2020, the educational psychological support was done at a distance (by telephone), and this did not help to reduce L.A.'s anxiety. Shortly before the start of the lockdown, L.A. had met with Ms. Dziwulski, psychologist-psychotherapist, as part of a therapeutic relaxation session. The question of the physical isolation was an overwhelming concern. The isolation imposed by COVID-19 posed a serious problem for the continued use of this trimodal system of care: how to continue working with L.A.? Within the parameters of this trimodal care, an attempt was made to adapt the follow-up for L.A. around the question of the verbal contact via telephone and the physical presence (distant or real), in a way which would allow this young woman to question/examine the orders given by her inner voice that she called her "policeman". The temporary suspension of in person contact, as well as work on her self-image and imagination, the exclusivity of her inner voice and then the application of the telephone voice/real physical presence at the BAPU leading to the questioning of the role of the body in her difficulties, allowed L.A to exist differently. The establishment of and the modifications made to this system of care ultimately functioned as a mediation, which provided L.A. the possibility of acquiring another voice, another space in which to think. [ABSTRACT FROM AUTHOR]

Copyright of Revue Historique (0035-3264) 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.)

The Beckettian theatre describes the agony of the modern world. His character as shown in the phenomenon of his perception, even when limited to four aspects: body, items, time and the Other, let us confirm the validity of Beckett's reflections about a man who is lost, terrified and resigned to our world. [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.)

Almost a decade after Sweden first declared that it would follow a feminist foreign policy (FFP), a further eleven countries from across Europe, North and South America, and North and West Africa have adopted, or have signaled an interest in potentially adopting, an FFP in the future. These developments have been accompanied by a growing body of feminist scholarship. Although still in its infancy, this literature can generally be divided between more normative accounts and those that are empirically focused, with particular attention paid to the FFPs of Sweden and Canada. Yet, few studies compare FFPs' uptake across different countries and regions, examine its connections to longer histories of ideas around women and gender, or unpack the policy intersections FFP (tentatively) engages. Contributing to these different areas, Part I provides an overview of the history of FFP, interrogates FFP in the context of Foreign Policy Analysis, and explores what FFP can achieve in the current (liberal) global system. Part II turns to consider policy intersections in relation to the climate crisis, migration, militarism, and bodies. Thinking through its origins, policy intersections, and potential future(s), the contributors to this Forum explore FFP's multiple and contested future(s). Ultimately, the Forum takes stock of this feminist turn in foreign policy at a critical point in its development and considers what future possibilities it may hold. [ABSTRACT FROM AUTHOR]

Psychoanalysis is a new discourse which could only appear on the basis of science, in other words, following the extraction of the subject from the world in which he is immersed. This requires we question all the conceptions of analytical theory and practice which look to their foundations in any kind of model. [ABSTRACT FROM AUTHOR]

Durante el 2002, Colombia vivió algunas situaciones difíciles debido a un conflicto entre las guerrillas y el Estado. El gobierno implementó algunas operaciones militares en un lugar llamado “Comuna 13 de Medellín”. La idea era combatir a las guerrillas, pero la población civil fue la principal víctima ya que las balaceras podían suceder en cualquier momento. Los profesores en los colegios y en las escuelas veían cómo sus estudiantes desaparecieron y cómo los adolescentes fueron reclutados por las guerrillas. Otro problema fue el ejército paramilitar que llegó a la Comuna 13 como el tercer participante en el conflicto. Los profesores fueron el camino para transformar la vida de los estudiantes. Este trabajo parte de las fotografías tomadas por Jesús Abad Colorado y realiza un análisis de estas en torno a los significados para la vida de los modelos que posaron para tales fotografías.