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The paper expands upon Kafka's “Metamorphosis” as the extreme representation of alienation neurosis caused by “the arbitrary character of the infinite and by existential absurdity” (Chira, 183). From a methodological point of view, we will turn to good account the concept of “time's thermodynamical arrowˮ which reveals “the sense of time where disorder or entropy increases” (Hawking, 113). In order to properly approach the individual disorder and the mental and spiritual dislocation of Kafka's character, Jung's psycho-analytical theory, Bachelard's aesthetics and Chira's interdisciplinary studies will be also taken into account and closely observed in our analysis of the dramatic effects of the extreme form of alienation described in “Metamorphosis”.
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Filozofski, "žensko pitanje" (da upotrijebim ovo staro, krajnje neprikladno određenje) se ne može riješiti niti pomoću nove simbolizacije ženskosti niti uzdizanjem žene u entitet koji se opire simbolizaciji, u "nedjeljivi ostatak" procesa simbolizacije. Ovim drugim putem krenuo je Schelling, koji je "znao da izraz 'žena' ne može poteći iz načela. Ono što ne može tako poteći, treba opisati." Schellingov proboj iz logičke strukture stvarnosti (koju se može predstaviti kao idejni sustav) u Realno primordijalnih nagona (gdje nema dedukcije, može se tek ispričati priča) - i.e. njegov pomak od logosa ka mythosu - je dakle objava Ženskog.
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The article reviews the myth of Odysseus in literature: Homer’s Odyssey, Joyce’s Ulysses, and Eric-Emmanuel Schmitt’s Ulysses from Baghdad. From Mircea Eliade’s cultural interpretation of the myth of Odysseus, the article goes on to K. Jung’s interpretation of Odysseus as a trickster. From the general cultural and psychoanalytic profile of Odysseus as man returning “home”, to “his roots”, to the authentic self, complemented by the option of travel as a transformation, in which one becomes oneself as other, the article goes on to considering the “return to oneself” as an augmented and expanded other, although still oneself, and to the metaphorical perspective on the myth. And hence, “return to oneself” is viewed as repetition enhanced by the inclusion of difference: in this way, the idea is unconsciously advanced that the myth of Odysseus, as a metaphor of “the return to oneself as other” is analogous, on a highly theoretical level, with “the myth of eternal return”. The myth of eternal return is presented through the optics of: Nietzsche; Heidegger’s interpretation of Nietzsche’ “eternal return”; Deleuze’s interpretation of the latter, which demonstrates as justified the hypothesis that the myth of Odysseus is a form of the myth of eternal return, whereby the hypothesis becomes a thesis.
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Biometric data sets authentication of personal identity on a different plane, because by the advent of modern technology it has become possible personal identification to be made based on physical, chemical or behavioral characteristics of a person. Biometric data is a type of personal data. It present the image of a person's face and / or his fingerprints, and other types of specific identification features, which are most commonly used for identification and verification of identity. Challenges which are to be faced by modern society in connection to the use of biometric data will undoubtedly reveal new ways of regulation of various spheres of life obshtestveiya. It is necessary to create enough reliable mechanisms for protection, which not to restrict fundamental rights and freedoms of every citizen.
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This paper outlines a historical and critical survey of the contribution of psychoanalysis and other ‘psycho-sciences’ to our contemporary understanding of Holocaust trauma. It argues that the theme of mass traumatisation effects originates in the use of psychiatric knowledge and procedures during the First World War. As part of the war machine, psychiatry had special functions in the mobilisation of the masses as well as in the treatment and rehabilitation of those soldiers who suffered from ‘shell shock’ and later developed ‘traumatic neurosis’ or ‘war neurosis’. The main task of psychiatrists at that time was to cure these soldiers as quickly and effectively as possible – in order to send them back to the same dangerous circumstances, which had caused their symptoms in the first place. In treating war neurotics, brutal punitive methods such as painful electric shocks were frequently used. Based on archival sources, and on the correspondence between Sigmund Freud and Sándor Ferenczi, the application of these methods is illustrated here through the example of a Hungarian military doctor, Viktor Gonda. The majority of army doctors regarded war neurosis as a character deficiency, a sign of a ‘feminine’ character. It was thought that this kind of ‘male hysteria’ could also affect ‘healthy’ soldiers, destroying their will, determination, patriotism, and heroism. By contrast, the psychoanalytic conception of war neurosis developed by Sán- dor Ferenczi in Hungary and by Karl Abraham and Ernst Simmel in Germany was intended to be a humanising alternative to the dominant, mainly ‘punishing’ and torturous procedures applied by mainstream military psychiatry. Psychoanalysts emphasised the importance of understanding the patient’s symptoms, assuming that their explanation originated in the patient’s life history and unconscious motives rather than exclusively in external, physical causes. The psychoanalytic approach to war neurosis anticipated later debates on the nature of individual and collective psychological traumata. This paper surveys the impact of the First World War on the development of the theory and technique of psychoanalysis, including the concepts of Freud, Ferenczi, Melanie Klein, Abram Kardiner, and others. After the Second World War, psychoanalysis was preoccupied with the exploration of the ‘Nazi mind’, the specific psychological and characterological traits of war criminals, their supporters, and their collaborators. This paper argues that the existence of a Holocaust trauma as a separate group of symptoms was for a long time not really acknowledged. The focus only shifted from perpetrators to victims in the 1970s, due to the introduction of the diagnostic category of PTSD (post-traumatic stress disorder) into the vocabulary of psycho- analysis. This paper, however, argues that the concept of PTSD preserved, in some ways, the dominant discourse of First World War psychiatry, continuing, in a subtler way, to stigmatise or blame the victims.
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The text is one of Jean Piaget's most astonishing works, which was written in the beginning of his professional career as a psychologist and researcher of the child's psyche - this is the book „Child's Conception of the World“. An analysis was made of the biographical and professional context in which the book was written and an emphasis is put on the influence of the psychoanalytical ideas over Piaget's early works. In the text, the highlight is the analysis of the used method of clinical interviewing of children in order to achieve the research goals. A view on the contemporary interpretations of the data Piaget obtained is suggested in the text, as well as ideas for a psychoanalytical reading of the children's answers.
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The article explores the auto/biographical narratives devoted to Freud written by his disciples. The author argues that both biography and autobiography were important life-writing genres used by psychoanalysts in the first half of the twentieth century to express their subjective views on the history of the psychoanalytic movement. The chosen biographies of Freud shed light on the close relationship between “subjective” autobiographical discourse (based on self-observation and auto-analysis) and the “objective” role of a biographer. The author argues that the early auto/ biographies of Freud’s disciples presented a different history of psychoanalytic knowledge, where the collective thinking and affective relationships are shown to be crucial in the development of the psychoanalytic movement.
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This article discusses the early theoretical works of the Hungarian psychoanalyst and a close disciple of Sigmund Freud, Sándor Ferenczi. This study offers an interpretation of his short case study Homosexualitas Feminina, published in 1902, concentrating on the analyst’s narrative and stylistic strategies before he met the founder of psychoanalysis. The article is devoted to the analysis of a popular medical genre – the case study – which is seen in the light of its relation to life-writing literature. Rather than follow Michel Foucault’s deconstructive scheme of interpretation, I offer a more affirmative reading of the case study of Rosa K. and thus seek to understand Ferenczi’s early work through the impact of life-writing genres, such as biography and autobiography, on psychiatric discourse at the turn of the twentieth century.
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The article scrutinizes how autobiographism, fiction and autoanalysis crisscross in the psychoanalytical study Elmebetegségek psychikus mechanizmusa (On the psychic mechanisms of mental illnesses) by the Hungarian writer and psychiatrist Géza Csáth (1887–1919) in the light of his diary and Carl Gustav Jung’s doctoral thesis.
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Søren Kierkegaard existed only through his work, which comprises his literary and philosophical pseudonymous oeuvre, the Journal and the theological bodies of work. When unable to nourish this vivid production anymore, he launched his attack against the church in a periodical called the Instant, an effort he could not sustain for too long. In the midst of the attack he fell violently ill in the street in Copenhagen and died in hospital, without having previously been diagnosed with a serious or fatal illness. On the other hand, his body has always been rendered as a failure, even as a missing element in some passages that reveal symptoms of different kinds of hypochondria. These are due to what he confesses to be an “excess of spirit”, a hyper-spiritual subject that enacted a peculiar melancholic and incorporeal condition. The failing body pertains to the lack of an effective body that could sustain existence and at the same time enforces the solution to the question concerning the unavoidable ek-sistence in anxiety (Heideggerian avant la lettre) by way of an incorporeal body of writing. In this paper I will point out the connections between the function of Kierkegaard's writing as a vehicle for shaping identity and the metaphors of the failing body, using a psychoanalytical approach, while trying at the same time to keep close to Kierkegaard’s own style of allusions and bitter irony as an attempt to save the unique subject by writing.
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In medicine and psychiatry, pain often falls under the term “comorbid disorder”. We will therefore begin with a brief phenomenological analysis of the term “comorbidity”. The emphasis here will not be so much on “morbidity” but on the prefix “co”, more precisely on the fusion between the various forms of morbidity, including the pain itself. I would like to further state that the real thing that comorbidity is concerned with is essentially the interaction between the organic and the psychic, or, generally speaking, that between “body” and “soul”. The prefix “co” can denote at least three possible situations, depending on the respective context: an organic cause with psychological effects, a psychological cause with organic effects, or, a much deeper source of origin, which is both organic as also affects the psychic and thus leaves behind the mere duality of this pair of terms. As we shall see, this last meaning became the source of inspiration for one of the important working hypotheses of phenomenology, which is the reduction of dualisms as body-soul, inside-outside, etc. from the perspective of their common condition of possibility. This hypothesis is shared by both psychoanalysis and the psychoanalytic clinic that emerges from it.
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Knowledge Society is characterized by some aspects which modify the way in which we approach the daily realities. In this regard, the development of IT&C technologies and the usage of knowledge, as fundamental resource for the new economy, allow the development of a context that solicits new approach modalities of the way in which faith is transmitted. Complementary, environmental problems and massive migration of population create new challenges for the way in which faith transmission is treated. Thus, in this new context, it is necessary to reapproach the way of faith transmission due to the new challenges. To realize this, it is required to focus the attention on the human and to study his deepest dimension. Consequently, the approach of the deepest human dimension imposes also the study of the unconscious. The study of the unconscious is necessary because it has influences in the way faith is transmitted and lived. The present exploratory study presents the possibilities in which the unconscious can influence the faith transmission through its specific processes and its symbolism.
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Leśniak presents an interpretation of selected works and texts by contemporary German artist Hito Steyerl. Drawing on Nicolas Bourriaud’s version of the concept of digital realism and the notion of enrichment proposed by Luc Boltanski and Arnaud Esquerre, Leśniak demonstrates that Steyerl’s practice is characterised by an exceptional ability to thematise current problems. Her works are not only extremely relevant in the way they refer to problems related to the mechanisms of visuality in the digital age, but also in the way they tackle the functioning of institutions – museums and galleries – as a process of enrichment that is key to the logic of capitalism in the post-industrial era.
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The article analyses Bernardo Bertolucci’s screen adaptation (1970) of Alberto Moravia’s novel “The Conformist” in comparison with the censored version of the film released in the Soviet Union in 1976. Attention is paid foremost to the dubbed Russian version’s visual cuts and translation shifts, which amount to the creation of a new, castrated version that is approximately 30 minutes shorter than the original film and that ideologically corresponds to the then-dominant Soviet discourse of representing fascism. The article demonstrates how in this new, censored version where Bertolucci’s complex narrative is transformed into a linear narrative (that surprisingly makes it closer to the original novel by Moravia), the characters’ psychological inner worlds and Bertolucci’s storyworld conveyed through images, sounds and language have become lost in translation.
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The aim of this work is the study, on the narrative poetics level, according to the reader's response, of the nature of the relationships on the fictional structure between the Dream as an isotopic closed unit, with the text as an opened one, dynamic and isotopic body. In our view, as the elaborated version of the merging of traditional post-structuralism with the phenomenological instance of structural meaning constructed by the reader, The Dream as a poetic unit, stands in front of the text, just as the word stands in the front of its explanation in the vocabulary. In its relationship with The Dream the text becomes embezzlement, displacement, conventional expansion of The Dream, its cultural interpretation through non-individual mechanisms, it expresses itself as a tension between the fictional necessity to produce coherence with the structure’s balanced build-up, that is, the relativization of The Dream, which naturally tends to acquire the authority of the symbolic structure of the text. But, first of all, on what indicators The Dream is defined, where is the place of The Dream in the structure, what are the functional relationships The Dream is implicated with, what kind of dialectics does it lead to? In this perspective, with this research, conducted through a critical instrument based on the theoretical model of the Possible Reader, in the story of ‘Forgetting a Woman' by I. Kadare, we have tried to define the initiation of a possible poetic typology of The Dream’s place in the texts of this author.
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In this paper work will be reviewed the Accident novel written by Ismail Kadare through narrative techniques/several specific of: the suspense, the inversion, complex and inverse characters, as well as the narrator-detective through trick stories, which starts with eye-sighting and the view on the taxi mirror. The appearance of the character of Rovena as her form relates to the “mental” situation of Besfort Y. and to the situations in which the narrator places her own narrative actress. Thus, one side of the analysis is also the characters’ couple, Rovena St., and Besfort Y., who appears in the reader’s eyes through evocations, feelings, photos of letters, which serve as “factual evidence” to discover their life and their speculative relationship which is not ante-mortem but post-mortem; a suspicious relationship (Rovena St. she was fall in love with Besfort Y. from the back – not by eyes, voices, or walking). The evolution of lexical semantics, and decoding of language elements leads us back to the first narrative moment; so, the time freezes and turns back to discover the mystery that captures the narrative story, which is related to the accident or/and murder of Rovena St. (“Besfort Y.'s psychiatrist from the murderer did away with him”).
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