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Artists based in the United Arab Emirates (UAE) are pressured by international art elites to critique the illiberal regime under which they live. But doing so is illegal. It can lead the state to retaliate with harassment, detention, cancellation of residency visas, and expulsion. Nonetheless, gatekeeping curators and critics validate UAE‐based artists' work as worthwhile and good if these artists critique the UAE state. How do these artists balance the perils of retaliation and deportation with an exhortation to critique the state for the sake of career success and international visibility? They do so by deploying a form of critique predicated on omission and ambiguity; I term it conspicuous omission. This practice reveals norms of critique, and the normative expectations placed on contemporary artists based on their place of residence or origin. [ABSTRACT FROM AUTHOR]

In my article, I will discuss Gregory’s view of beauty from a theological-anthropological perspective, focusing on why beauty is deceptive and where the limits and boundaries lie between beauty as a theological category and beauty that becomes an idol and does not lead to God. The key question will be how beauty, whose source is God – the essential beauty – can be deceptive. I want to emphasise that although Gregory sometimes speaks about the deceptiveness of beauty, the ambiguity lies not in the beauty itself but in the ability or inability of the human being to discern the beautiful. Here I draw on the foundation of Gregory’s anthropology, namely the creation of human beings in the image and likeness of God. I will further analyse Gregory’s concept of the knowledge of beauty and its relationship to desire and passion in Gregory. I will conclude by reflecting on the moment when beauty becomes an idol that leads people away from the path of knowledge of the truly beautiful. [ABSTRACT FROM AUTHOR]

Some pioneering lexicographic research, notably that published in Volume IV of the Dictionnaire Explicatif et combinatoire (Mel'čuk et al. 1999), proposed a formalized treatment of some prefabricated polylexical units frequently mobilized in informal exchanges. In the same way, our paper focuses on expressive formulae commonly used in conversation and aims in particular to examine their illocutionary functions and their interactional roles, by specifying the type of clues (lexical co-occurrents, syntactic structures) allowing disambiguation. The formulae have been selected based on a frequency criterion, in the ORFEO oral database, with the addition of examples found on social media. We first look at the problems posed by pragmatic disambiguation, and then present – through the examples of bon courage and tu m'étonnes – a methodological approach, based on the notion of pragmatic framework. [ABSTRACT FROM AUTHOR]

Thomas Aquinas treats specifically of rights and natural rights in his exposition on the virtue of justice (Summa theologiae, IIa-IIae, q. 57). He does so principally in reference to Aristotle, whose Nicomachean Ethics he had just commentated, but he also draws inspiration from Roman jurists, in particular Ulpianus. This happy synthesis however is not without ambiguity. What connection is there, in particular, with the treatise on laws (Ia-IIae, q. 90 ff.) ? On one side, Thomas refuses to confuse right and law, but on the other, he does not cease to bring them together. In the same way, if he bases natural right on the "nature of things" (which seems to distance him from the natural law, for this flows from "human nature"), he nevertheless considers that natural rights change because human nature is subject to change and that "everything that reason dictates to man is the natural law". It is for the elucidation of such aporias that this article is dedicated. [ABSTRACT FROM AUTHOR]

This article reports the case of an elementary school principal, Ella, committed in the implementation of a reform dedicated to bring together several educational worlds. It proposes a conceptual construction around the notions of "meeting work» and «identity contingency» with the aim of comprehend the collective work in education. This construction unfolds methodically in a thematic and enunciative analysis of interviews. The analysis shows the events of this work and shows how, in the interface between professionalism and psyche, the identity contingency, as an assumption of ambiguity, establishes an essential foundation of this work. [ABSTRACT FROM AUTHOR]

Literary criticism has never ceased to question the dialogical universe of literary productions by putting into its objective the question of otherness, of dialogue; of all-round interaction. The notion of intertextuality seems to be the key example of the presence, of co-presence, of textual productions in another. From Kristeva to Genette, via Barthes and Sollers, intertextuality has undergone a number of terminological remakes to the point of lending itself to ambiguity. It should be said, however, that the critical discourse is as much in agreement with the dynamics of co-presence as with the transformational dynamics of textual interactions. However, the two dynamics - the two regimes - seem to overshadow the mediating function of intertextuality. It is indeed in this article to study, in the biography of Amélie NOTHOMB's hunger, the mediating function - signifying mediation - of the textual interactions so that they function fully in an operating regime. We will show to what extent the "inter" dimension occupies in this novel a mediating function in what we can call networked literature. [ABSTRACT FROM AUTHOR]

The Russian studios played a considerable part in animation. Which elements allowed this success ? How did they reach the excellence ? How did they reconcile artistic freedom with ideological pressure ? Soyuzmult Film benefited from considerable means both on the human and financial plan and developed a big variety of techniques. The productions of studios drew from immaterial heritage of Russia but aimed at universality to reach the widest public. The quality of the realizations which rested on the notion of author and style, the reflexivity and the intermediality, contributed in the success of Soyuzmultfilm. Nevertheless it is advisable to question this success, to highlight the ambiguity of the model, which develops a propaganda sometimes visible, sometimes discreet, according to period. The omnipresence of the theme of the dream appears as the symptom of a powerful censorship. A movie as 25th October, 1st day, of Youri Norstein, could constitute the emblem of a censored propaganda. [ABSTRACT FROM AUTHOR]

We report the analysis of 70GeD4 line positions from high-resolution rovibrational spectra, including accurate lines in the region 1420-1620 cm −1. In this analysis, 292 data points are fitted using an effective Hamiltonian expanded up to the seventh order for the ν3 fundamental band. For the assignments and analysis, we use the SPVIEW and XTDS software programs that implement the tensorial formalism developed in the Dijon group for tetrahedral molecules. Experimental transitions are assigned up to J ≤ 31 for the ν3 cold band. Among the 43 parameters of the effective Hamiltonian for the ν3 fundamental band (of which 10 are relative to the ground state, and 33 are relative to ν3), 32 relative to ν3 were fitted. The 32 parameters for ν3 allow very good simulations to be made. For this study, a total of 292 line positions were used in the least squares adjustment characterized by the root mean square deviation dRMS for line positions: 0.587 × 10-3 cm-1. On the basis of our set of 292 fits of experimental data for ν3 of 70GeD4, the ambiguity of effective Hamiltonians for triply degenerate F2 states of tetrahedral molecules is verified. It is shown that, in agreement with theory, any of q2J4-type parameters cannot be determined from experimental data in a unique way, and these parameters cannot be considered as spectroscopic constants. [ABSTRACT FROM AUTHOR]

Résumé: On s’attache ici à rouvrir la question du négativisme, en soulignant l’ambiguïté du signe : car tant du point de vue de son extension sémiologique, que du point de vue de sa fonction dans la symptomatologie, le négativisme paraît mal caractérisé. L’étude de ses formes concrètes nous amène à réinterroger son extension, qui fait débat dans la sémiologie. L’analyse ouverte sur ses effets de sens conduit ensuite à questionner le statut de l’objet qui s’y trouve toujours impliqué, par quelque côté – en témoignent les renversements fréquents du signe de la relation à l’objet. L’essentiel de cette investigation peut alors trouver à se formuler dans une remarque qui anticipe sa démonstration : certes le négativisme semble à première vue renforcer l’autisme du schizophrène, mais parce que dans ses manifestations cliniques, il répond toujours à une présence désirante, il pourrait plutôt fonctionner comme l’une des tentatives de retourner sur le chemin de l’objet : une ű tentative de guérison Ƈ, donc. [ABSTRACT FROM AUTHOR]

Introducing a series of lectures on the works of the French psychoanalyst Paul-Claude Racamier, the author will emphasize the role of the origins in psychological development. Racamier's notions such primal mourning, antoedipe and ambiguity will be presented as key facets of the clinical understanding and psychoanalytic treatment of psychotic disorders. [ABSTRACT FROM AUTHOR]

Starting from Wittgenstein's reflections, but going beyond their purposes, this article explores the formulation "hearing-as" in order to inform our ways of understanding music. Uses of this expression are tested in some standard situations, and discussed in order to highlight its key functions. Four main functions are identified: conceptual (it highlights the opportunity to conceive the perception of music in terms of aspectual perception), aesthetico-pragmatic (it solicits and makes easier the perception of aspects, inducing in this way a musical understanding), epistemological (it allows us to check the musical understanding of which a listener is capable), and experimental (it helps us to test musical ambiguities). Some variations of its purport are examined according to the nature of the object being listened to: when this is recognized as a musical work, the device favors a specific grasp, involving a knowledge of the context of the composition and a recognition of the author's intentions. [ABSTRACT FROM AUTHOR]

Abstract: San rock paintings in the Cape, South Africa, are residual but readable images that contain some intentionally ambiguous figures. Male and female figures were almost never ambiguous at the time of painting but many have become so, after much loss of detail. The boundary between animals and people, by contrast, is often ambiguous with therianthropic, animal-headed human figures quite commonly depicted. These decisions are rooted in a world view that is well documented in San folklore and ethnography. [Copyright &y& Elsevier]

Abstract: The author raises the problem of an “oblique” demand in child psychiatry ; a demand which voluntarily or not on behalf of one or several relatives of the child, even the answer of the child psychiatric team shows itself ambiguous, contradictory, misleading, even manipulating. He moves closer to this dimension of the clinical practice of the legend of Œdipe manipulated by Apollon, the god oblique who is at the origin of the curse punishment of Laïos, cause of everything in the link of tragedy; as in the legend, the patient does not know the origin of his pain and if we work into a psychopathologic way, which is for the author the specificity of our work, we go towards the explanation of the links of illness to give sense to it. But all our work is infiltrated by the oblique omnipresent which blurs tracks; our work consisting in keeping a thread which some people disturb, take issue or deny. [Copyright &y& Elsevier]

Abstract: In this paper, the different psychoanalytic lectures of “Hamlet” are confronted to new findings claiming Hamlet to be guilty of his father''s murder (Bayard, Enquête sur Hamlet, 2002). Then, Shakespeare''s masterpiece is discussed as a paradigm of paradoxality and ambiguity from which stems its unbroken fascination. Instead of determining arbitrarily if Hamlet or Claudius are the villains, a new interpretation uncloses a third possibility of who might be responsable for the king''s death: what if Hamlet''s mother Gertrude has conceived the King''s murder? Finally, the author points out the heuristic value that “Hamlet” contains both as a paradigm and an enigm, for the theory and the practice of nowadays psychoanalysis. [Copyright &y& Elsevier]