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Copyright of Estudios de Teoría Literaria is the property of Estudios de Teoria Literaria 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 BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation 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 article deepens themes from Sartre's Being and Nothingness by studying the relevance of the mirror in his play Huis Clos. The mirror can be understood as a means for escaping anguish by identification with the reflected image-object, but also as a figure of the sado-masochistic relationship between two of the play's characters. What is at stake is our possibility of conceiving ourselves as objects independently of the Other. In truth, it is the Other's look that first reveals our objectivity, and is our being-for-Others that allows us to have objectivity at all. This is not to be overlooked in our attempt to avoid bad faith. [ABSTRACT FROM AUTHOR]

This paper is a review of the book Young People in Chiapas: Bodies and Subjectivities. Reflections on Contemporary Phenomena. San Cristóbal de Las Casas, Chiapas: Centro de Estudios Superiores de México y Centroamérica de la Universidad de Ciencias y Artes de Chiapas (CESMECAUNICACH/JUAN PABLOS). [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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.)

Relevance. Self-directed gaze detection is often the starting point for social interaction, and eye contact plays a crucial role in regulating face-to-face interaction. The question of the impact of eye contact on the establishment of trust remains open. Purpose. To research eye contact as a factor in the emergence and formation of interpersonal trust. Research methods. In the process of work, the following methods were used: registration of eye movements using the SMI 1250 Eye Tracker equipment; survey; analysis of collected data using comparison, synthesis; statistical data processing was carried out by the IBM SPSS Statistics 27. Results. The research showed that in the presence of eye contact, trust in a person is rated higher. Field of the results application. The results of the study can be applied to the formation of interpersonal trust in professional activity and daily life.

This paper proposes the idea that astronomy contributed to structure the perceptive philosophy and poetics of the first Romantic generation through the figure of the globe. Indeed, celestial spheres came to serve as a metaphor for the eye globe, which in turn symbolized the possibility of renewed or expanded vision. Astronomy fascinated the first generation of Romantic poets. Since he was a boy, Coleridge went star-gazing with his father. Both Coleridge and Wordsworth received a scientific education at Cambridge which included astronomy; they were also eager to learn about the new world views promulgated by contemporary astronomers such as William Herschel, who discovered planet Uranus in 1781. Blake, on the other hand, was fiercely opposed to a form of science which created the conditions of mental and perceptive imprisonment. To him, astronomers promoted a view of the cosmos that belittled mankind; Blake sought to reestablish the visual powers of man and replaced the celestial charts with a map of infinity. Whether they supported astronomy or criticized it, all three poets relied on astronomical language to redefine the creative powers of visual perception, which the telescope contributed to enlarge or to distort. In the writings of Coleridge and Wordsworth, the stars become symbols of a divine light to which they address their thoughts. Blake's engravings intertwine celestial and human bodies to create a new representation of mankind. This paper will therefore analyze the multiple ways in which the symbolical reversal of celestial and ocular globes testifies to the powers and limits of the Romantic eye.

The homodiegetic narrator, emphasizing in his narrative emotional feelings of great sensitivity, often shows predispositions to lyricism. The source of this lyricism is located in the so-called original, artistic self, which works as a source of emotional irradiation that resonates in the person of the author. He, in turn, creates in the work, under the aspect of a fictional identity, a discursive instance, the narrator, following a human model, most often, his model. If the author himself as a person is marked by emotional exuberance, has inclinations towards the predominantly affective assessment of reality, then, mainly, his fictional self will be endowed with an emotional-psychological structure similar to his, so he will have a lyrical identity. And lyricism, intrinsic to the actual identity of the author, is called land. The article comprises some essential theses about the nature of land lyricism and its manifestations in the works written by M. Sadoveanu, L. Blaga, Z. Stancu.

Copyright of Journal of the College Of Basic Education is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Internacional de Humanidades is the property of Common Ground Research Networks 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 Athar alrafedain is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Electrónica de Psicología Iztacala is the property of Facultad de Estudios Superiores Iztacala 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Basing on listening of children and teenagers about their experiences with remote learning at the pandemics moment, this article deals with the questions of looking and their relationship with the transmission of knowledge. The central axis of this discussion is the notion of looking between desire and enjoyment. The text covers the themes of transience, transference and transmission, to analyze the difficulties of transmission mediated by screen.

If we follow an act of communication between pedagogue and student/master student, we will notice that the message, which is issued by one and received by the other, constitutes not only words, but also gestures, facial expressions, look, formulas of spatial placement of speakers. These elements, perceived by the interlocutors in the communication relations, are often more expressive than the verbal content. They have a direct effect and allow the ascertainment, at the moment, of the communication conditions (desire or unwillingness to favour the communication, the degree of formalization, the attitude towards the interlocutor, the emotional state of the partners etc.). Traditionally, pedagogues emphasize the verbal message and often underestimate the nonverbal means, either out of ignorance or out of prejudice that words constitute the consistency of content. This damages the didactic message and diminishes its formative influence.

In Cognitive linguistics verb-particle (VP) constructions are treated as compositional and analyzable. The particles when combined with the verbs contribute to the overall meaning in the form of image schemas. This article compares the verbparticle constructions with look and see. It aims at analyzing the nuances of meaning of two synonymous verbs that combine with spatial particles and examines the image schemas associated with them. When the corresponding image schemas are activated they influence the VP constructions, thus they bring forth new evidence for the embodied nature of language and thought. This study also uses the theoretical framework of Construction Grammar to focus on the different ways of processing spatial and non-spatial VP constructions.

This text proposes a dialogue between Marc Ferrez's (1843-1923) photographic production andMirzoeff's (2016) conceptual proposal on visuality, counter-visuality and the right to look, starting from the hypothesis that the photographer brings a visual representation that legitimizes the colonial legacy present in Brazilian society. Thus a brief chronology of the photographer's work in 19th century and Mirzoeffs's concepts are presented in order to cross it with six images. two from each category (Black people, Indigenous Brazilian people and Landscape). We concluded that Ferrez could be considered a "viewer" of the 19th century, acting as a colonizer through his images. In them, the three regimes of visuality, plantation, imperial and incoherent visualization are perceptible, generating classification, separation and aestheticization. However, they must be permanently open to a counter-visual look, that is, one that questions what has been posted. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bajo Palabra: Journal of Philosophy is the property of Bajo Palabra: Journal of Philosophy 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 Trivium (2176-4891) is the property of Mestrado Profissional em Psicanalise, Saude e Sociedade da Universidade Veiga de Almeida 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Thélème is the property of Universidad Complutense de Madrid 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.)

Along with art, fashion is one of the most obvious manifestations of culture. It comes from the interaction between individuals and the world in which they live. Synonymous with change and innovation, fashion continues nevertheless to draw on tradition and the past. One must merely consider the bodily and clothing trends of the last decade to be convinced of this interaction. Jeans, t-shirts, perfecto jackets, and athletic shoes, key elements of the twentieth-century wardrobe and symbols of youth, pleasure, and rebellious attitude, continue to define extreme contemporary clothing. As for the transformations to the body that best characterize the current look,—flamboyant hair color, razor-cut hair, neglected beards, piercings, and tattoos—they are rooted in the punk aesthetics of the 1980s, but especially in that of ancient civilizations. The use of the traditional marking of the body allows, among other things, to build a "primitive" ideal of beauty that sheds doubt about the benefits of civilization as well as expresses worries about the future of Homo sapiens. [ABSTRACT FROM AUTHOR]

Joshua Oppenheimer’s documentary The Look of Silence presents the journey that Adi Rukun went on to see the crime scene where his existence was originated. His job as an optometrist serves as a precise metaphor to his objective: to visualize the veil of impunity that has covered the massacre of more than a million communists, which took place in Indonesia during the military dictatorship of General Haji Mohammad Suharto, within just a few months of 1965. The intention of erasure of these bloody events turned into silence and oblivion. The effects of the massacre and the forced silence that followed are displayed in the entangled knot woven between the subjective and the collective. [ABSTRACT FROM AUTHOR]

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 Er(r)go: Teoria, Literatura, Kultura is the property of Wydawnictwo Uniwersytetu Slaskiego 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 Ingenium: Revista Electrónica de Pensamiento Moderno y Metodología en Historia de las Ideas is the property of Universidad Complutense de Madrid 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 O Ideário Patrimonial is the property of Centro Transdisciplinar das Arqueologias do Instituto Politecnico de Tomar 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 Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts 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.)

Anagogy, a point of view sub specie aeternitatis, is the method for framing the most difficult contents of Christian revelation. It is the theoretical access that by explaining and formalizing the framework ex parte Dei, comes to understand the immutability and solidity of the eternal Design of God centered in the mystery of the Lamb «immolated since the foundation of the world» (Ap 13,8). [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.)

Copyright of Trivium (2176-4891) is the property of Mestrado Profissional em Psicanalise, Saude e Sociedade da Universidade Veiga de Almeida 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 Mélanges francophones is the property of Galati 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.)