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[SUMMARY] In recent years, there has been a movement to study Buddhism and shamanism from the perspective of quantum mechanics. Quantum mechanics is the physics of the microscopic world. A quantum is the smallest unit of quantity of matter. I try to look at Horchin shaman's practice with the elements of light, waves, resonance and energy in quantum mechanics. The guardian spirits are the spirits of the deceased shamans,and animal spirits and nature spirits. In other words, although they do not have physical bodies,the guardian spirits are necessary tools for the shamans and the sources of their healing, clairvoyant, and prophetic abilities. The guardian spirits demonstrate their abilities through the shamans. At that time, the elements of quantum mechanics, that is, light, waves, resonance, and energy, appear through the anthems, bodies, and sometimes photographs. The guardian spirits resonate with the shamans and the clients. Observational phenomena can be seen in their treatments. The dance of the guardian spirits expresses the rebirth in a visible way through the body of the shamans. It vividly represents the cycle of life and immortality. And the circle dance and the double spiral dance are connected with the form of the existence of the Universe. Shamanism and quantum mechanics have many things in common. Shamanism is another "dynamic". Quantum mechanics and shamanic mechanics are both powers and explorations of microscopic existence. Their relationship will deepen in the future.

It has been argued that the essential themes in Sándor Ferenczi's Clinical Diary (1932) centre around three major axes (theoretical, technical and personal). This paper proposes a fourth: namely, an occult or esoteric axis. To make the case for its presence in the Clinical Diary, the article provides a brief introduction to the academic study of Western esotericism in order to more adequately situate its proximate fin de siècle occult precursors vis-à-vis psychoanalytic metapsychology. A brief account of Ferenczi's correspondence with Freud on the role of the occult in psychoanalysis is then provided. This constitutes the necessary context for embarking upon an investigation into the ‘psychognostic’ metapsychology co-developed during the course of Ferenczi's ‘mutual analysis’ with the so-called ‘evil genius’, Elizabeth Severn. By way of conclusion, James Grotstein's account of a ‘numinous and immanent psychoanalytic subject’ is highlighted as the locus for a synergistic rapprochement between pre-Freudian and contemporary psychoanalytic conceptualizations of the subject congruent with the ‘Orphic trajectory’ outlined in this paper.

On the 19th of September 2020 Ernest Rossi, my husband, professional partner, and best friend of 30 years left this mortal world. His passing was a comparatively rapid process of dissipation extended over a period of approximately six days. In addition to the complex of emotions and physical responses, I experienced grief. This grief affected me more than any prior loss or sadness in my life as my consciousness was altered into fluctuating quantum trance states characteristic of hypnosis while dancing on the spacetime continuum. As I transformed grief to peace, I utilized established "Rossi" principles as guidelines for effective therapeutic hypnosis and developing a satisfying life. In the tradition of our life together, I was the "operator" who had a subjective experience and yet, at the same time, I was also the "observer" who would watch, learn, and discover new knowledge. This paper is the emergent outpouring of the dynamic interplay between the observer and the operator, which is, therefore experiential, revealing, revelational, and numinous.

The article starts from a distinction between ritual practices and theatrical practices, anchored in anthropological theories, to propose a conceptual approach to ritual theater, specifically to the Ritual Play. From the experience narratives of actors and actresses in the process of formation, members of the Arkhétypos Grupo de Teatro (Rio Grande do Norte/BR), the trance states and the diverse mystical experiences during the creation processes are problematized, making parallels between the mediumistic practice, the states of trance and the art of the actor/actress. El artículo parte de uma distinción entre prácticas rituales y prácticas teatrales, ancladas em teorías antropológicas, para proponer una aproximación conceptual al teatro ritual, específicamente al Juego Ritual. A partir de los relatos de experiencia de actores y actrices en proceso de formación, integrantes del Artkhétypos Grupo de Teatro (Rio Grande do Norte/BR), se problematizan los estados de trance y las diversas vivencias místicas durante los procesos de creación, haciendo paralelismos entre la práctica mediúmnica, los estados de trance y el arte del actor/actriz. O artigo parte de uma distinção entre as práticas rituais e as práticas teatrais, ancorando-se em teorias antropológicas, para propor uma abordagem conceitual para o teatro ritual, especificamente para o Jogo-Ritual. A partir de narrativas de experiência de atores e atrizes em processo formação integrantes do Arkhétypos Grupo de Teatro (RN), é problematizado os estados de transe e as experiências místicas diversas durante os processos de criação, realizando paralelos entre a prática mediúnica, os estados de transe e a arte do ator/da atriz.&nbsp

Cet article propose une redéfinition de la dimension identificatoire de la musique de transe à partir de l’analyse de rituels de possession chez les Tandroy au sud de Madagascar. La valeur identificatoire de la musique de transe avait été exprimée par Rouget en termes sémantiques : la musique serait le signifiant de l’esprit signifié. À partir de la description de situations rituelles tandroy et de leurs actions musicales collectives, l’enjeu de cet article est de montrer l’existence d’un autre niveau de relation sémantique, qui aboutit à un changement de perspective anthropologique concernant la valeur identificatoire de la musique dans ce contexte rituel. La démonstration prend en compte l’aspect dynamique de cette pratique de la possession, influencée par la très forte mobilité d’une population qui vit le plus souvent en bi-résidence entre sa région d’origine et différents lieux de l’île. Depuis les années 1970, les esprits possesseurs chez les Tandroy appartiennent à deux catégories – l’une autochtone, l’autre issue de la migration – auxquelles sont associés des rituels spécifiques dont la musique est le principal élément distinctif. Mon hypothèse est celle d’une relation entre les acteurs et la musique qui symboliserait le rapport au territoire vécu par les Tandroy. Selon cette perspective, le principe d’identification ne concerne plus seulement le rapport du possédé à l’esprit, mais celui des acteurs rituels à leur identité collective. This article offers a redefinition of the identificatory dimension of trance music based on the analysis of possession rituals among the Tandroy in southern Madagascar. The identificatory value of trance music had been expressed by Rouget in semantic terms: the music would be the signifier of the signified spirit. Based on the description of Tandroy ritual situations and of the musical actions collectively performed during these possession rituals, the aim of this article is to show the existence of another level of semantic relation, which leads to a change of anthropological perspective regarding the identificatory value of music in this ritual context. The argument takes into account the dynamic aspect of this practice of possession, influenced by the very strong mobility of a population that lives most often in bi-residence between its region of origin and different places on the island. Since the 1970s, the possessing spirits among the Tandroy belong to two categories – one indigenous, the other resulting from migration – to which specific rituals are associated, music being their main distinctive element. My hypothesis is that the relation between the actors and the music symbolizes the relation to the territory as experienced by the Tandroy. According to this approach, the principle of identification no longer concerns only the relationship between the possessed and the spirit, but also that of the ritual actors to their collective identity.

Este trabalho busca oferecer, por meio da noção semiótica de iconicidade, uma proposta explicativa para a compreensão das relações entre hipnose e dores crônicas. Considera a hipnose como um conjunto de processos que envolvem a comunicação e a experiência de transe. Utilizando-se de breve vinheta clínica, destaca a iconicidade na comunicação hipnótica como processo fundamentado principalmente na consideração quanto ao outro, na clínica do mostrar e na vivência do presente. Por outro lado, na experiência de transe, destaca a iconicidade presente nas relações com a autoimagem e o esquema corporal do sujeito, que consistem em complexos sistemas semióticos nos quais as dores crônicas se configuram. Na conclusão do artigo, destaca-se a proximidade entre iconicidade e alteridade, sobretudo no que diz respeito ao papel do pertencimento dos protagonistas da relação terapêutica na hipnose.

Amulet paper in Chinese culture is known as hu / fu 符paper. It can serve as a means of healing. This amulet paper can mean healing because it is changed from something ordinary or profane to sacred through a ceremony performed by a spirit medium (tangsin). When God enters the body of the spirit medium through trance, the spirit medium performs a ritual such as slash the tongue. With the spirit medium's blood, he wrote this amulet paper. The paper then has a sacred function as medicine. This research is an ethnographic study with a case study at Hok Lay Kiong Bekasi temple during the Capgomeh ceremony and the God's birthday ceremony. The hu paper has so far been better known as a means of obtaining good fortune and luck. Through this paper, we can see Hian Thian Siang Tee’s amulet paper at Hok Lay Kiong Temple as a medium healing in Chinese society and see the changing function from something profane to sacred thing.

Jerzy Grotowski, a Western theatrical practitioner who incorporated psychophysical methods to help sustain the immediacy of the body and power of presence in performance, acknowledged the influence...

Chronic obstructive pulmonary disease (COPD) is the third leading cause of death globally and constitutes a major health problem. The disease is characterized by airflow obstructions due to chronic bronchitis and/or emphysema. Emerging evidence suggests that COPD is the result of impaired epithelial repair. Motivated by the need for more effective treatments, we studied whether receptor activator of nuclear factor κ-Β ligand (RANKL) contributed to epithelial repair, as this protein has been implicated in epithelial regeneration of breast and thymus. To do so, we used precision-cut lung slices prepared from mouse tissue—viable explants that can be cultured ex vivo for up to a few days while retaining features of lung tissue. Slices were cultured with 10, 100, or 500 ng/ml of mouse RANKL for 24 h. We first found RANKL activated nuclear factor κ-Β signaling, which is involved in cellular stress responses, without affecting the general viability of slices. Cell proliferation, however, was not altered by RANKL treatment. Interestingly, RANKL did reduce cell death, as revealed by TUNEL stainings and profiling of apoptosis-related proteins, indicating that it contributes to repair by conferring protection against cell death. This study improves our understanding of lung repair and could create new opportunities for developing COPD treatments.

Ideally, software engineers work in the state of flow: performing challenging tasks like system modelling with a series of routine actions, incorporating immediate IDE feedback, experiencing time distortion and managing harmful interruptions when necessary. We hypothesise that the ability to maintain the state of flow and the skill to get back into flow faster after being interrupted, are essential skills for software engineers, and that developing these increases the capacity to become good software engineers if given sufficient guidance and education. In this position paper, we link flow to trance and contemplate how techniques from the world of sport psychology can be used to teach learners to become better at software design, modelling, programming and debugging, as well as suggesting a means to assess the potential future success of undergraduate study seekers.

Quelle part ont pu jouer les instruments de percussion dans les compositions tragiques d’Euripide ? Sa recherche constante d’innovations l’a-t-elle conduit à expérimenter les possibilités sonores et musicales de ces instruments inhabituels sur la scène tragique ? La présence des références directes (tumpanon et aux crotales en particulier) dans plusieurs pièces révèle l’intérêt du poète pour la musique de la transe, celle des officiants de Cybèle en particulier, à laquelle ces instruments sont associés. Il semble qu’Euripide ait voulu exercer ce pouvoir musical sur son public. Une seconde approche, s’appuyant sur l’étude des termes pouvant traduire le bruit issu de la percussion, κτύπος en particulier, semble montrer que le poète tragique a voulu mettre en évidence une esthétique du « fracas ». Dans l’Oreste, le chaos sonore, produit par la chute de la maison argienne, plonge le public dans le trouble et la confusion jusqu’au retour apollinien à l’ordre et l’harmonie. What part could percussion instruments have played in Euripides’ tragic plays ? Through his continuous quest for innovations, did he come to experiment the sound and musical possibilities offered by these unusual instruments in his tragedies on stage ? Explicit references (mainly tumpanon and krotala) in several Euripidean plays reveal the poet’s interest in transe-inducing music, for example in Cybele’s worshippers It seems as if Euripides wanted to exercise this power over his audience. A second approach, based on studying terms translating the sound caused by percussion, mainly κτύπος, suggests that the tragic poet wanted to highlight his aesthetics based on crashing sound. In the Orestes, this sound chaos, caused by the fall of the house of Argos, deeply disturbs and upsets the audience, until the return to Apollonian order and harmony.

This repository contains materials of the project "The "hypnotic state" and eye movements: Less there than meets the eye?"

Resumo Este trabalho busca desenvolver uma aproximação entre o pensamento de Milton Erickson (1901-1980) e Charles Peirce (1839-1914), focalizando as noções de singularidade e falibilismo, com o objetivo de demonstrar as semelhanças existentes, o papel que desempenham em suas obras, como se relacionam e as implicações teóricas que geram para a hipnose. Descreve-se brevemente como o contexto histórico de cada um influenciou suas concepções iniciais. Em seguida, discute-se o modo como o falibilismo presente na concepção de semiose considera a singularidade dos fenômenos existentes e viabiliza o sinequismo, bem como os processos de evolução constante por meio de mudança de hábitos. Este estudo desenvolve a observação de Erickson sobre o sujeito enquanto signo representante de experiências de vida e relaciona as implicações teóricas do conceito de mente como semiose em torno do processo constitutivo de fenômenos acessíveis em experiência de transe. Abstract This paper attempts a theoretical rapprochement between Milton Erickson’s (1901-1980) and Charles Peirce’s (1839-1914) thought, focusing on the concepts of singularity and fallibilism to point out their similarities, the role they play on their works, how they relate to each other, and their theoretical implications regarding hypnosis. First, the text briefly describes both authors’ historical background and its influence over their early conceptions. Then, it discusses how fallibilism, present in the concept of semiosis, considers the singularity of existing phenomena and enables synechism, as well as the processes of constant evolution through change of habits. This study develops Erickson’s observation about the subject as a representative sign of life experiences and relates, initially, the theoretical implications of mind-as-semiosis concerning the constitutive process of phenomena accessible in trance experience. Résumé Cet article tente un rapprochement entre la pensée de Milton Erickson (1901-1980) et celle de Charles Peirce (1839-1914), en se concentrant sur les concepts de singularité et de faillibilisme afin de mettre en évidence leurs similitudes, le rôle qu’ils jouent dans leurs œuvres, la façon dont ils se rapportent l’un à l’autre, et leurs implications théoriques concernant l’hypnose. Tout d’abord, le texte décrit brièvement le contexte historique des deux auteurs et son influence sur leurs premières conceptions. Ensuite, il aborde la manière dont le faillibilisme, présent dans le concept de sémiose, considère la singularité des phénomènes existants et permet le sinéquisme, ainsi que les processus d’évolution constante par le changement d’habitudes. Cette étude développe l’observation d’Erickson sur le sujet comme signe représentatif des expériences de vie et relate, dans un premier temps, les implications théoriques de l’esprit comme sémiose concernant le processus constitutif des phénomènes accessibles dans l’expérience de transe. Resumen Este trabajo busca desarrollar una aproximación entre el pensamiento de Milton Erickson (1901-1980) y el de Charles Peirce (1839-1914) enfocándose en las nociones de singularidad y falibilismo para demostrar las similitudes existentes, el papel que juegan en sus trabajos, cómo se relacionan y las implicaciones teóricas que generan para la hipnosis. El artículo describe brevemente el contexto histórico de ambos autores y cómo esto influyó en sus concepciones iniciales. A seguir, se discute cómo el falibilismo presente en la concepción de la semiosis considera la singularidad de los fenómenos existentes y viabiliza el sinequismo, así como los procesos de evolución constante a través del cambio de hábitos. Este estudio desarrolla la observación de Erickson sobre el sujeto como signo representativo de las experiencias vitales y relaciona, inicialmente, las implicaciones teóricas del concepto de mente como semiosis en torno al proceso constitutivo de los fenómenos accesibles en la experiencia de trance.

Channeling experiences are often compared with Dissociative Trance/Possession Disorders and Dissociative Identity Disorders and more recent diagnostic criteria presented in the DSM 5 and ICD-11. From this comparison, it emerges quite clearly that, for most cases, channeling can either be considered an exceptional non-ordinary mental experience or a non-pathological Dissociative Trance/Possession experience. If this characterization is valid, the next step is to understand the origin of channeling experiences. Are they an expression of channeler’s unconscious or voluntary mental mechanisms, or real connections with “other discarnate entities”? Given their peculiar characteristics, channeling experiences offer a unique opportunity for a scientific investigation and in particular, the origin of the information received by the channelers.

A liturgia do Xangô gira em torno do sacrifício de animais, seguido pela divisão das vítimas em axé, destinado exclusivamente aos deuses, e em eran, as carnes vermelhas, redistribuídas pela comunidade, redundando numa estratégia econômica e alimentar. Porém, ultrapassando toda utilidade, o sacrifício culmina na festa, na dança, no transe, implicando no renascimento místico do devoto e na renovação da solida­riedade entre os membros do grupo de culto.

The purpose of this paper is to develop the fundamental basis of the art of “theatre of shock”, as the art of the highest spiritual and emotional level, as well as to identify the characteristic features and directorial components that provide it. The methodology. We applied the analytic-conceptual and empirical approaches to identify the most energy-intensive artistic means of creating a theatrical product and the most effective directorial tools for influencing the spiritual-emotional sphere of the viewer by creating the highest energy and philosophical and aesthetic level that can bring the audience to a state of shock. The results. For the first time in art criticism, an analysis of the generalization and systematization of director’s tools and ways was carried out, the creation of a “shock” for the creation of theatrical art. The concept proposed by the author crowns the triangle that, together with the art of “dissimulation theatre” and the art of “excitement theatre”, is the technological trinity of theatrical art: dissimulation — excitement — shock. The study conducted by the author gives grounds to conclude that the creation of theatrical performances, belonging to the art of the highest spiritual and emotional level — to the art of “theatre of shock”, is possible if such fundamental components as: sealed module of dramaturgy, “muscles” of play events, scenographic directing, metaphorical vocabulary, means of psychological theater and energy field of actors’ “emission” are embodied in the stage space. The model of the “theater of shock” assumes complete domination over the emotions of the spectator, the deepest immersion in the whirlpool of dramatic events and bringing to a deep trance with a powerful energy field of emission. The topicality. This paper contains such terms as “theater of shock”, “theater of trance”, “scenographic directing”, “molecular directing” are introduced into scientific circulation. The practical significance. Scientific development of ways, methods and means of creating the “theater of shock” as a kind of the most powerful energy and philosophical-typical level can be implemented in the educational process. Along with this presentation the concept of “theater of shock” can have its continuation in the theses of students with degrees in the field of art history, opens the prospect of updating the theatrical palette.

This paper used an ethnographic approach to examine the phenomenon of possession in the ritual of baby birth with the chanting of macapat tulak balak. This paper sought to describe the phenomenon of possession experienced by the singer of macapat tulak balak and to explain how society perceives the phenomenon that occurs. To analyze the problem of possession, phenomenological aspects, possession phenomena, metaphysical studies and ritual aspects were used. Edmund Husserl’s phenomenology was used to describe the phenomenon of possession. The phenomenon of possession and unconsciousness was explored with the approach of Carl Gustav Jung’s psychological theory. Aristotle’s metaphysical studies were used to analyze the “being as being” and “the divine”. In addition, Marret’s theory of extraordinary powers and Otto’s about human attitudes towards the occult were also examined. Ritual aspects were discussed through Van Gennep’s theoretical approach to religious ceremonies. This research produced several formulas as follows: the phenomenon of possession of the chanting of macapat tulak balak is interpreted by the community as an event that actually happened. This phenomenon is caused by several factors, namely: who is chanting, the chanter’s spiritual experience, who is possessed, and macapat tulak balak. In psychology, possession is called a dissociative trance or split personality, which is a change in consciousness characterized by a change in personal identity that has been existing with a new identity. Matters related to the occultation of the phenomenon of possession are included in the study of “the divine”, meaning that no human ability can reach it. Keywords: phenomenon, possession, macapat tulak balak, ritual

BACKGROUND: Mental retardation (MR) is a developmental condition that is associated with significant intellectual and adaptive behavioral limitations, whereas dissociative trance disorder (DTD) is a dissociative condition characterized by a temporary altered state of consciousness formed by one’s culture. Comorbidity between these two disorders has rarely been reported. CASE REPORT: We found a case of MR in a 32-year-old woman, Mrs. S, with a DTD who killed her five children during her trance. CONCLUSION: It was found that there is a relationship between psychosocial stressor factors, trauma, underlying psychiatric conditions, culture, and communication that influence trance conditions. Further research is needed to study and understand more about these disorders and comorbidities.

By distinguishing the respective meanings of interpretation and literary creativity, Samuel Beckett’s work contributes a great deal to metapsychology and even to a psychological theory of translation. His writing is not so much the continuation of a psychoanalysis but rather a questioning about the relationships between the foreign and the familiar that led him to analysis as well as, before and after, towards different changes of representative containers. The use that he makes of a language that is not his mother tongue establishes an archaic object-relation, his self-translation supports a fantasy functioning as a process, and all of this is more comparable to a bodily mediation, and even a self-hypnotic trance, than to a classical analysis.

One of the phenomena of social crisis that occurs in society is marked by a trance. Unfortunately, this incident is often associated with mystical aspects. In fact, trance can be explained scientifically and it can be cured through therapeutic communication with religious nuances. This paper attempts to show that the stages of therapeutic communication and speech representation that is performed by Ustadz Danu in the healing process of a possessed person. The main purpose of this study is to develop an understanding of the stages of therapeutic communication and speech representation. This study used a descriptive qualitative approach taking a primary and secondary data sources by observing, documenting, and analysing. The result of this study indicate that: first, there are four stages religious therapeutic communication that can improve the mental peace of trance patients by counsellor through religious activities such as reading salawat, prayers, and dhikr. Second, after getting religious guidance, patients with mental disorders feel more inner peace than before, this can be seen from the patient's independence, and the way of communication of patients who began to gradually improve. Third, utterances of advice that show supporting factors in healing a possessed patient include adequate facilities, infrastructure, and family support

Dit artikel neemt de Ghost Trance Music-composities van de Amerikaanse componist Anthony Braxton onder de loep. Het geeft tegelijkertijd een bredere kijk op Braxtons oeuvre als geheel en plaatst enkele kritische kanttekeningen bij de canon van naoorlogse westerse kunstmuziek.

La transe de possession Gnaouie est fondamentalement un rite collectif renvoyant à un large éventail de phénomènes. En outre, les femmes utilisent cette activité rituelle, en guise de moyen indirect de présenter des griefs et d'affirmer leur autonomie. La transe de possession Gnaouie constitue l’énergie et le potentiel des catégories démunies, aussi, elle constitue une forme fondatrice de stabilité et de cohésion sociale, et joue également un rôle primordial dans la structuration des hiérarchies et des interactions sociales.

The construction of gender as an analytical category enabled an important theoretical and methodological means to think about the process of becoming aware of the ideologies of capitalist cisheteropatriarchy. On the other hand, this notion, challenged and disseminated to feminism studies for a long time and based on the life of white European women, did not allow to gaze at other experiences and situated knowledge produced mainly by African, African Americans and Amerindian women. At this epistemic crossroads, the narratives of people practicing Candomble on the themes of gender and sexuality provide us with an immeasurable set of experiences from different bodies that transit in these spaces and fissure the universalist character of the concept of gender to think social relations. This study briefly reflects on this category in Candomble based on the contributions of Oyeronke Oyěwumi, bringing to the debate some dynamics of Candomble, Afro-Brazilian religion, and other theoretical possibilities for understanding society based on the dynamics of matripotence, seniority or relative age and the Orixas trance.

La constatación de que nuestro universo está constituido (aparentemente) de unos y los mismos elementos materiales en cualquier lugar en que podamos observarlo nos lleva directamente a la postulación de un único principio y causa del único proceso universal al que se debe cuanto existe. Y en ese trance parece inevitable preguntar: ¿cómo ha surgido Todo? Todo, aquí, significa cuanto hay; sin excepción alguna. Esta visión puramente física del Universo puede denominarse naturalismo universal, entendiendo el término naturalismo como traducción del término aristotélico physis en su célebre definición

This work will focus on the corporeality of the Mexican fidencista cult, through the analysis of the body religious techniques of the materias, the religious leaders that canalize Nino Fidencio, among other spirits. The phenomenological analysis of trance and ludic ritual performancesand the highlighting of some central cultural themes that are key to the understanding of fidencismo propitiate a fluid and indeterminate corporeality that, in turn, respond to and are a historical byproduct of the context that is Northeast Mexico.

This article looks at the website Ektoplazm.com, which acts as a free distribution service for psychedelic trance music. Ektoplazm is maintained by a single webmaster, DJ Basilisk, who describes the service as a ‘curated collection’ of music. Basilisk maintains strict aesthetic and technical standards for every item uploaded, helping to create an attractive musical commodity with valuable attributes—albeit one that is offered free of charge. With Ektoplazm as its focal point, this article examines the interaction between curator, community and commodity in the digital era. Here, curation is found to be part of a wider process of reintermediation which adds value to digital music. The stylistic, aesthetic, technical and legal components of Basilisk’s curatorial role are considered, and Ektoplazm is placed in the context of psytrance’s cultural history, the changing landscape of internet music websites and the free-culture movement.

El ensayo indaga sobre las formas en que algunas escrituras chilenas de la última década han producido la escena liminar del fin de los tiempos, del fin del mundo y sus postri-merías. Interesa preguntar sobre cómo estas ficciones imaginan la crisis actual desde los espacios disruptivos, movedizos y también “excepcionalizados” de los confines, y cómo producen, a través del género apocalíptico “enmascarado, cifrado” (Derrida), otra ima-ginación del presente, una crítica política que, evidenciando la crisis del presente como crisis de la imaginación del futuro, podría reconducir nuestra mirada sobre los límites de nuestro tiempo y las condiciones de su superación. El ensayo intenta, asimismo, pensar esas escrituras de manera situada, desde una enunciación también en crisis, que asume lo contemporáneo en un trance de caída y trasformación.

The painful condition, known in medicine under the name of alcoholic automatism, alcoholic trance, alcoholic somnambulism, despite its significance in forensic medicine, has been the subject of research from a relatively recent time. In 1878, the observations related to this were described by Professor Magnan, who expressed the proposition that alcoholic automatism is the result of the complication of alcoholism with epilepsy and that automatic states are observed only in such chronic alcoholics who have epilepsy. Since 1879, several papers by Dr. Crothers have been published on this issue. Further cases of alcoholic automatism have been described by Drs. Kinney, Collin, Chamtemesse, Souques and others.

Traditionally, jurists have distinguished between voluntary/involuntary behaviour via the theory of volition. Though perceived as the conventional approach, this paper argues that the volitional understanding of voluntariness is an inadequate instrument for assessing complex behaviours which seemingly portray a striking level of intelligence and purposiveness on the part of the accused. In particular, the phenomenon known as hypnotically-induced behaviour, which forms the focus of this paper, is one such troublesome case. To this end, the version of the volitional theory most staunchly advocated by Professor Michael Moore is singled out for scrutiny, due to his strong sentiments supporting the application of his philosophy to these aforementioned behaviours. In contrast to Moore, this paper suggests that the position most recently proposed by the Law Commission of England and Wales within their discussion paper on the defences of insanity and automatism is to be preferred. Specifically, the Commission recommend substituting the theory of volition for that of ‘control’ as a means for assessing the voluntariness of any given behaviour. This paper submits that a theory of control has two major advantages over the traditional theory of volitionalism. First, the possession/absence of control more accurately reflects the contemporary system of criminal law in England and Wales. Second, a theory of control is more conceptually defensible as an explanation for why behaviours performed under hypnosis are typically perceived as involuntary.

This arts-based co-inquiry engages the intersection of the Western medical-based world/reality and the Natural world/reality. To bridge these worlds the co-authors utilize a spiritual-based trance-formative practice using trance and arts-based inquiry. Instigated by a diagnosis and open-heart surgery of one of the co-authors, the purpose of their project is to offer an example of how a relational approach embracing Nature and art within a connective aesthetic of co-inquiry can offer deep healing and renewal. This spirit healing transcends the physical recovery from the medical intervention, extending a fearful experience into a gift of fearlessness. The writing weaves theoretical, dialogical script, images and poetic texts with an invitation to experience an eight minute art video that includes poetic voice, improvised vocal sounding, visual art and narrative reflection. The story explores the areas of intimate wit(h)nessing, therapeutic resilience and transformative learning at the physical, emotional and spiritual levels.

We present 21 prominent myths and misconceptions about hypnosis in order to promulgate accurate information and to highlight questions for future research. We argue that these myths and misconceptions have (a) fostered a skewed and stereotyped view of hypnosis among the lay public, (b) discouraged participant involvement in potentially helpful hypnotic interventions, and (c) impeded the exploration and application of hypnosis in scientific and practitioner communities. Myths reviewed span the view that hypnosis produces a trance or special state of consciousness and allied myths on topics related to hypnotic interventions; hypnotic responsiveness and the modification of hypnotic suggestibility; inducing hypnosis; and hypnosis and memory, awareness, and the experience of nonvolition. By demarcating myth from mystery and fact from fiction, and by highlighting what is known as well as what remains to be discovered, the science and practice of hypnosis can be advanced and grounded on a firmer empirical footing.

We read with great interest the editorial by Kruger (2020) in which she provides a review of some of the cultural aspects of dissociation and trauma. We especially appreciate her call for the study...

Korean shamanism ( musok) considers problems of physical, social, and mental health to be a result of supernatural intervention. The unique position of male practitioners who become healers within a female-dominated sphere is especially telling as they perform cross-gender behavior that is perceived as related to homosexuality, which is stigmatized in Korea and often labeled as a “mental illness.” In contrast, musok frames these behaviors as responses to demands from the spirit world.

Historical records suggest that channeling has existed globally, in a variety of cultures, for thousands of years, and recent research suggests that channeling is more prevalent than most people realize. The present study used an online survey to explore mental health factors, personality characteristics, subjective experiences, and the impact of channeling on 83 participants who self-identified as trance channelers. Most participants endorsed being spiritual but not religious as adults, and on average the channeling experiences began at middle age. The majority of participants did not report pathological levels of dissociative or psychotic symptoms, anxiety or depression. Compared to relevant norms, participants reported similar scores on most personality factors, psychological absorption and empathy. Participants’ average scores on emotional and environmental sensitivity corresponded to being designated as sensory-processing sensitives. Participants reported high levels of noetic beliefs and experiences, particularly beliefs in life after death, non-local consciousness, and telepathy. Most participants reported that their channeling process is willful and consensual and that they are consciously aware of the channeling state while it occurs. The majority of participants also reported a positive impact of channeling on their lives. Lower psychotic symptoms, older age when the trance channeling experiences began, and higher sensitivity scores predicted a greater positive impact of trance on participants’ lives. Given that trance channeling has played a role in religious and spiritual traditions around the world throughout history, the present study provides an important exploration of the trance channeling phenomenon.

O objetivo do artigo é discutir a relação entre a participação de Antonio Candido no congresso “Terzo Mondo e Comunità Mondiale” (Itália, 1965), e um esboço de mudança teórico-conceitual de sua obra a partir da segunda metade dos anos 1960, especialmente no ensaio “Literatura de dois gumes” (1966). Esse evento foi fulcral na articulação das nações terceiro-mundistas daquele contexto por contar com a presença de importantes intelectuais africanos e latino-americanos e pelo ensaio de uma crítica pós-colonial ao eurocentrismo. Nossa hipótese é que, nos anos seguintes, Candido incorpora às suas leituras parte das discussões realizadas no encontro a partir de uma reformulação de algumas de suas categorias analíticas e perspectivas teórico-conceituais e da expansão do escopo de análise do Brasil para a América Latina.

This article looks at Brazilian films from two periods—the late 1960s and the last three years—in order to compare the ways in which they elaborate two moments of defeat for the Left: the 1964 military coup against João Goulart and the 2016 impeachment of Dilma Rousseff. Its focus is not only the stories the films tell about these historical junctures but also the way they implicate or fail to implicate themselves and their audience in those stories; in other words, the depth of the self-scrutiny they propose and the incisiveness of their diagnosis of the Left. Paying special attention to Glauber Rocha’s 1967 Land Entranced and Petra Costa’s 2018 The Edge of Democracy, the author argues that the recent crop of documentaries tend to be much less critical than the films produced around 1968 and suggests some explanations for that. Among those is the way the memory of the struggle against the dictatorship in the 1960s and 1970s is mobilized today with inverted signs, establishing dubious parallels between the two moments. Due to these critical deficits, these films risk hindering a collective working through of defeat by reinforcing an understanding of what counts as political “realism” that prevents a clear-eyed assessment of the recent past and limits the imagination of future possibilities.

Throughout history, within numerous multicultural contexts across the globe, channeling has been expressed, practiced, revered and shunned. Broadly defined, channeling is “communication of information to or through a physically embodied human being, from a source that is said to exist on some other level or dimension of reality than the physical as we know it, and that is not from the normal mind…of the channel” (Klimo, 1998, p. 2). Despite its persistence and presence across time, the enigmatic, speculative nature of channeling creates a unique research challenge. Historically, scientific channeling research tends to minimize attention on the actual channeled material, in part due to validation constraints. The focus of this qualitative exploration was to categorize and thematically analyze content channeled during the final segment of a trance channeling study. Recorded over two days, 13 healthy adult trance channels responded to the question, "Do you have any suggestions/messages regarding the current or future channeling experiments?" Transcribed content analysis revealed seven common themes under three categories – Scientific Methodology: (1) Constraints of the current quantitative study, (2) Advancing channeling research; Channeling Processes:(3) 'How-to' of channeling, (4) Experienced processes described from the “non-physical being's” point-of-view; Open-Ended Information: (5) Philosophical – personal to global to universal, (6) Gratitude and Collaborative spirit, and (7) Personal messages for healing/growth. Themes 2 and 6 were the most represented content of messages delivered. This analysis was designed to present the experiences of the channelers, how that might be interpreted and to provide global access to the potentially valuable content.

Neste artigo, em primeiro lugar, busca-se localizar a teologia da tradição oral, especificamente afro-brasileira, como independente de outras teologias, bem como se trata de objeto basilar para o desenvolvimento de análises e estudos no âmbito das religiões afro-brasileiras; em seguida, relaciona os conceitos de escolas e núcleos duros (RIVAS NETO, 2012; 2014) como estruturantes e métodos para definir campos de estudo na área, e, por fim, introduz diferentes abordagens teológicas, a saber: teologia dos núcleos duros, teologia das escolas das religiões afro-brasileiras, teologia de exu, ecoteologia, etnomedicina ou teologia da saúde, ética e teologia, teologia prática, teologia do transe, teologia do mito de fundação, teologia do corpo, teologia do som, teologia com enfoque em gênero e etnobotância.

The existence of spiritual involvement in handling possession, this purpose article to describe the implementation of ruqyah possessed by patients in Nashrun Minallah boarding school and spiritual interpretation in the implementation of ruqyah. This type of research is qualitative, with interview and observation research methods. The research subjects are 1 ruqyah and 1 assistant. The results showed that two types of trance experienced by patients were possessed by psychic and physical disorders, the main process in ruqyah was blades, then safeguards developed by patients with independent ruqyah with necessary health assistance. Spiritual has a significant role in the ruqyah process which is carried out to deal with patients suffering from spiritual illness in the form of possession. Keywords: ruqyah, spiritual medicine, possessed.

This article details the brief collaboration between Siegfried Kracauer and Gregory Bateson in the Film Library of the Museum of Modern Art during World War II as an intriguing episode in intellectual history, touching on film and media studies, anthropology, and German studies. The article presents the Frankfurt School as part of the 1940s’ memorandum culture and thereby attempts to situate the historiography of critical theory during this formative period within a broader intellectual landscape, that is, in dialogue and competition with several other projects, to analyze the Nazi German enemy, in this case, the Culture and Personality School. The article takes Kracauer’s and Bateson’s analyses of the Nazi movie Hitlerjunge Quex as a case in point and, with the help of institutional and biographical contextualization, develops some of their most important methodical innovations and insights into Nazi German propaganda. In particular, the article points to Kracauer’s concept of hypnosis and relates it to Bateson’s media theory.

International audience; A study was conducted on Western adults who participated in a group undergoing initiation into therapeutic shamanism. It investigated how shamanic work could be a factor triggering changes in persons who never had been previously immersed in such a tradition. Five groups, each composed of six people for a total of 30 participants, met eight times over a period of four months. Analyzing questions asked of the 27 who completed the program resulted in the following identified themes: experiences of the group, trust in the shamanic practitioner, raised awareness of their feeling states, experiences of the shamanic journeys, understanding of the origin of personal difficulties, solutions discovered to improve one's life, identification of striking moments, belief in the existence of "spirits," and other relevant changes like disappearance of allergies, improved self-confidence, more assertiveness, a desire to live, optimism, the capacity to live in the present moment and to make choices. The structural role of ritual and trance in this type of program is highlighted, including discussion about implications of the changes reported.

Dans A Romance of Two Worlds, The Soul of Lilith et The Young Diana de Marie Corelli, le fluide de Mesmer devient une eau de jouvence produite en captant l’électricité ambiante. Le pouvoir des savants capables de dispenser cette panacée est surtout de mettre leurs sujets dans un état de transe où il est possible d’accéder à une connaissance qui expliciterait le mystère de l’inspiration poétique. La vulgarisation scientifique dans le roman populaire permet de perpétuer les motifs idéalistes en les justifiant par l’électricité., Marie Corelli, an iconic British novelist of the 1880s-1910s, enjoyed a wide readership. Three of her novels, A Romance of Two Worlds, The Soul of Lilith and The Young Diana, deal with the themes of magnetism. Mesmer’s fluid is transposed into an injectable solution, a water of youth produced by capturing ambient electricity. The power of the scientists able to dispense this panacea is above all to put their subjects into a state of trance where it is possible to access a knowledge that would explain the mystery of poetic inspiration.