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This article sets out to analyse the relationship that African nannies have with their work. These workers experience a double ambivalence. On the one hand, ambivalence in their relationship with their work, which they consider both noble and thankless, on the other, ambivalence in their status, given the conditions in which they carry out their work. We draw on data from an ethnographic survey (interviews and observations) conducted as part of our doctoral research with nannies and at the offices of the Syndicat national des auxiliaires parentales (SNAP).

For Simone de Beauvoir, the question of female formation is inseparable from a reflection on the literary forms that convey it. In the most properly novelistic component of her work, the construction of the identity of various female characters remains an unfinished process: from L'Invitée (1943) to La Femme rompue (1967), via Les Mandarins (1954), the demand for freedom from family and social constraints is often disrupted by a parallel tension towards bad faith. Female apprenticeship, on the other hand, becomes fundamental to understanding the formal and thematic organisation of the autobiographical project, and in particular of Mémoires d’une jeune fille rangée (1958). Through the narrative of her childhood and adolescence, Beauvoir adopts an explicitly oriented strategy here, aimed at illustrating the formative journey that enabled her to become one of the most important writers of her generation. This has decisive consequences for the form of the text itself, insofar as, in addition to respecting the pact of truth, there is a desire to bear witness and a performative aim.

Copyright of Journal of Language & Law / Revista de Llengua i Dret is the property of Revista de Llengua i Dret 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.)

Hereditary, Ari Aster’s first feature film, displays from the outset a generic hybridity making its ambivalent identity manifest. This ambivalence is central to Freud’s uncanny, and beyond the director’s self-confessed ambition to convey this feeling, the theme of the family is treated here as a paradigmatic incarnation of the Freudian concept. Playing with interlocked and artificial spaces, the opening sequence already introduces the motifs of duplicates and fatality: these decisive mechanisms of the uncanny betray Hereditary’s whole project, narratively and formally permeating the film from extradiegetic quotes to its very structure. Through the tragic metaphor – merging the house and the ancient « clan », the family occupying it – we’re led to investigate the film’s subordination of its domestic, liminal or interlocked spaces in the mise-en-scène of a repressed « familial uncanny » resurfacing in the Graham’s collective psyche. On formal and symbolic levels, Hereditary eventually comes full-circle in a trajectory that not only mimics the Freudian uncanny’s dialectic, but looks back toward its own generic heredity as well.

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

The article is devoted to the analysis of the comic Renaissance literature through the prism of individual works in order to identify the main comic functions. The Renaissance laughter culture formation is one of the urgent and underdeveloped problems of modern humanities adressed to the study of the Renaissance. The purpose of our work and the tasks dictated by it – in the context of the «laughter word» of the Renaissance to reveal the main comic functions in the literature of this period that were formed by a new worldview and new relationships amoung people. The stated goal determines the need to use hermenegutic (analysis of literary texts), typological (comparison of various comic functions), historical (solution of a literary problem in the context of a historical epoch) research methods. The “discovery of the world and man” that was characteristic of the Renaissance also took place in fiction. Renaissance realism turned it’s face to the everyday life of a person, and literature willingly accepted a new theme for itself including comedy. The article highlights various social functions of laughter that were used in Renaissance literature. Recreational laughter function is the original and oldest one. Laughter is evidence of pleasure, relaxation, rest. This laughter’s function is necessary for the normal functioning of not only an individual, but society as a whole. Such works as fables, schwankis, facies, “Gargantua and Pantagruel” by Rabelais, “Don Quixote” by Cervantes, comedies by W. Shakespeare, their main task was entertaining first of all. Their laughter is a clear evidence of inner freedom and healthy vitality. Laughter is a social phenomenon, and therefore it must meet the well-known requirements of people livihg together. Therefore, one of the main of functions is social. Laughter should be a kind of social gesture; it frees society from mechanical rigidity. We single out this function in Luigi Pulci’s poem “Morgante”. Funny and serious, faith and disbelief, naivety and scientific coexist side by side in this work, defining its heroic-comic character. The ontological aspects of laugher are closely related to cognitive ones. The cognitive laughter function has a great importance in revealing social negative aspects, in bringing them to the point of absurdity and thereby revealing their inconsistency and the obligation to eliminate them. This laughter function is represented in Sebastian Brant`s poem “The Ship of Fools”, in Rotterdams satire “The Praise of Folly”, in F. Rabelais` novel “Gargantua and Pantagruel”. Laugh as an effective social sanction (the sanctioning function of laughter) is presented in Cervantes` novel. The main thing in Don Quixote is not so much a parody of chivalry as a realistic disclosure of new social conditions and worldview discoveries, which was a parody of a past life. At the end of the novel, realizing his madness, Don Quixote thereby frees himself from his comic. The novel takes on a pronounced tragic connotation. The title character recognizes his doom and ceases to be pathetic, he becomes a knight of the “sad image”, he dies not a pathetic madman, but a humble Christian. The various functions of laughter, presented in the Renaissance literature were an effective tool in the fight against the remnants of the Middle Ages and the establishment of a new worldview.

Among the probable sources of “winter” imagery in the last cantos of Inferno a special place belongs to the motif of Scythian winter, developed in detail by Ovid in his “exile poetry” and (before him) by Virgil in the Georgics (III). Despite the absence of direct mentions of Tristia and Epistulae Ex Ponto in Dante’s oeuvre, the majority of modern scholars challenge the statement of E. Moore, who suggested in the late 19th century that later writings by Ovid created in exile may have remained unknown to the author of the Divine Comedy. In correlation with the view of Michelangelo Picone, who, beside tracing the characteristics of Ovid’s winter, also saw in Dante’s wintry parts of Hell a reconsideration of the motif of exile (central to Tristia), the author of the article examines the most important parallels, uniting the Commedia’s first cantica with Ovid’s “exile” verses, namely the description of the solidity of ice covering the river or lake; the hero-author walking on the ice and gazing at beings bound in it; the correlation between winter’s dominance and the escalation of hostility in the relations of persons and tribes; the connection of winter’s setting with the motifs of “death-in-the-life” and the loss of spiritual home; a longing for spiritual Absolute under the reign of winter; potential ambiguousness of “winter” motifs.

At the end of the 11th century, Islam saw an upsurge of a takfīr bent toward exclusion, in reaction to a perceived infidelity to orthodoxy or orthopraxy. It was in this context that Vizier Niẓām al-Mulk founded new schools of theology, the niẓāmiyyāt, and appointed the young Abū Ḥāmid al-Ġazālī as director in Nīsābūr. Yet, how can one reconstruct a consensual synthesis, integrating self-exclusive trends, without in turn risking being accused of infidelity (takfīr)? The article shows that in the face of this challenge, al-Ġazālī deploys theological writing strategies: he returns to the sources and etymology of the Islamic sciences, neutralizes the reality of kufr through spirituality, and adapts his theological language and leaves room for a hidden teaching that invites one to read and reread the master, through the lens of a proleptic reading which allows for a progressive shift while at the same time safeguarding the accusation of infidelity.

Dans The Mastersinger from Minsk de Morley Torgov, l’inspecteur Hermann Preiss, accompagné de sa maîtresse, la violoncelliste Helena Becker, est confronté à Richard Wagner, menacé de mort le jour de la création de son opéra Die Meistersinger von Nürnberg, à Munich en 1868. La fiction de Torgov se nourrit de faits réels pour construire un dossier à charge contre Wagner, antisémite notoire, et pour rouvrir le débat sur l’indépendance de l’oeuvre vis-à-vis de l’artiste qui l’a créée.

Based on an empirical and participatory research conducted in Pantin, east of Paris, this article offers an analysis of how young people from working-class backgrounds face gentrification processes. How does working-class youth react to the arrival of socially affluent populations? How do their practices of the city evolve with the transformations of the urban and social environment? Are they able to appropriate these transformations in their discourses as well as in their practices, and if so, in what way? After tracing the changes in the city of Pantin and the characteristics of the ongoing gentrification process, this article informs and analyses the ambivalence that characterises the discourses and practices of the working-class youth. It shows that this ambivalence is less rooted in attachment to the past than in the uncertainty that the future holds for them. While young people derive, through their practices, certain benefits from gentrification, they also wonder about their place in the city in the medium and long term. Their discourse is a powerful analysis of their self-construction process and how they project themselves into an urban space, and by extension into a society that marginalises them.

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Québec, the prevalence of Attention Deficit Hyperactivity Disorder (ADHD) medication consumption by children is of concern. While health professionals condemn the situation, they also find themselves at the heart of the claims as prescribers. Our qualitative analysis, following the principles of grounded theory, reports that health professionals are very critical of the performance society, but sensitive to pressure from parents, school and other health professionals. They are also ambivalent about the diagnosis of ADHD and its specific medications and therefore their prescribing practices are heterogeneous. Three cases emerge from the analysis and show that some of their practices reinforce pharmaceuticalization, while others offer resistance.

The article focuses on Virginia Woolf’s novel, The Waves, a sui generis work, in which the writer explores metaphysical and epistemological issues such as the meaning of selfhood, time and identity as flux, silence and language, the self as defined by language, and other fundamental concerns. These topics are explored through a dualistic perspective. This duality permeates the entire structure of the novel through binary oppositions: the self as one/the self as plural; the lyrical/the novelistic; the mystical/the rational; narrative/formlessness; the embodied/the disembodied; potentiality/actuality; language/silence. Woolf’s ambivalent approach is also at work in the way she uses language in the novel. The urge towards a teleological existence prompts her characters to turn events into a narrative that would arrange and combine them into one thread. The present article, however, shows that in The Waves the very human propensity to turn experience into a coherent story is countered by the opposite perception that this narrativizing drive is only an illusion.

“The Bandits”, Vasile Ernu’s second volume of his trilogy, the trilogy of marginal men, describes the world of thieves, of bandits, of criminality in a communist society, without the narrator ever becoming one of them. He is more of an adopted son, someone who has almost unmediated access to this world without suffering the repercussions of revealing that world’s secrets. This should not to be understood that he has total access to the bandits’ secrets, but that he is not viewed as a threat, even if he reveals more of this world than others. The narrator is accepted because he does his best to be himself and this is a value of utmost importance for this marginal group of people, others knowing and owning their identity, the type of narrative they tell about themselves. On the other hand, the narrator is himself a marginal man as well, considering the fact that he grew up among religious people who were quite fundamentalists in their way of expressing this belief (but not in the way in which we picture today religious fundamentalism: bombing, Muslims, terror). Thus, this essay is meant as a study of one’s sense of identity when having to juggle with more identities, when having to evade (or even be subversive towards) the more pervasive, totalitarian regime in which these marginal men find themselves.

Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj 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.)

What children experience in the city continues to elude understanding of everyday life and urban dynamics. After spending time with pupils from a secondary school in Echirolles (France), located in a deprived and stigmatised neighbourhood, this article discusses their everyday urban experiences. They are thought of as thick with three thematic registers: a discourse of situation or positioning in time and space, sensitive attentions and the emotional register, dominated here by fear and anger. The experiences are also ambivalent, combining opposites: child and young, here and far away, discomfort and pleasure, suffering and acting, memory and immediacy. Understanding the thickness and ambivalence of experiences helps to avoid the risk of a homogenous view of urban childhood.

Copyright of Accounting Auditing Control / Comptabilité Contrôle Audit (English Edition) is the property of Association Francophone de Comptabilite c/o Solle 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 ESSACHESS is the property of ESSACHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There are few professions and professionals to be constantly perceived as ambivalent. But for interpreting and interpreters, this seems to be the norm, rather than the exception. On the one hand, there has always been a sense of fascination for these extraordinary people who speak so many languages and have such a wide knowledge of the world. On the other, they have inspired reluctance, distrust or even fear. While literary works sometimes reflect one or the other perception, James Justinian Morier’s The Adventures of Hajji Baba, of Ispahan, in England (1828) reflects both and provides us with an insight into the nature and circumstances of the situation. By following the attitude towards the mehmandar throughout the novel, the present paper considers a set of memes that seem to be still valid today. The reasons this is so relate to features inherent in the profession, the privilege of understanding both sides ‘of the coin’, the power tamper with information, the risk of misunderstanding, etc.

Public accounting has a social function that consists in guaranteeing credibility, trust and order to the general public. This is possible due to the power that the Colombian State gives to the accounting professional to be able to grant public faith. The fiscal year prints in the public accountant a role of mediator and regulator between the State, companies and citizens. However, a recent publication of Ámbito Jurídico reveals that the conduct most sanctioned by the disciplinary court of the public accountancy is the conduct against the public faith, which invites to think that some accounting professionals, for the pursuit of their own interests, have transgressed its social function. Therefore, this article questions: ¿What structural problems are hindering the moral exercise of public faith? To answer the question, it is proposed to observe public faith from the sociological concept of social action, and thus, to shape the present relationships between public faith, the State, capitalism, the bureaucratic-tech-nocratic administration and the individual. The final reflection of this work indicates that the accounting professional, due to the structural transformations of the current social reality, is carrying with it the social action of the public faith attending two antagonistic behaviors, but validated by the State, such as morality and selfishness.

This article examines the behaviour of the variable “victim’s declaration” in the police and the court in criminal proceedings for gender violence, problematizing the results from a sociological and gender perspective. From a quantitative methodology, the analysis of the procedures initiated during 2017 in the Pamplona judicial district allows us to identify frequencies and statistically significant relationships of this variable with others. The importance of the victim is verified so that the process reaches trial phase. It constitutes an empirical contribution to the theoretical and dogmatic works that analyse the criminal justice system from a gender perspective. It contributes to the legal and social debate on the need for the victim's declaration to obtain effective judicial protection, identifying the rationale behind this demand. The ambivalence of the system that requires a moral consensus around the victim to obtain legitimacy is appreciated.

The central subject of Marlen Haushofer's famous novel The Wall is the reflection of alienation as “relationship of relationshiplessness” (Rahel Jaeggi). It reflects on this by resorting to a metaphor for alienation that has become topical: the glass wall. The novel's innovative literary effort is that it takes this metaphor literally in the form of a wall that suddenly appears and extends endlessly into the world. This literalization of the metaphor, however, does not result in overcoming alienation in the sense of liberating the nameless main character. Rather, it is part of a genuinely creative procedure – a procedure that Deleuze and Guattari, following Franz Kafka, call “way out”. And a procedure for which the protagonist must pay the price of an inescapable ambivalence.

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

The article discusses institutionalist analysis that is both historical and pragmatist of a modern nation. Topics discussed include responsible finance at the turn of the 21st century; financial relationship between the lender and the borrower; and need to address problem that radical uncertainty poses in finance by taking into account the ambivalence of money and by deducing the lender's need for liquidity.

The article examines that it is established that any linguistic system rests, among other things, on the principle of general economy, which principle manifests itself in several ways. Topics include considered that in addition to polysemy and polylexicality, ambivalence is another illustration of this as it is indeed a question of endowing the same lexical unit with two syntactic functions linking it, according to its use, to two different syntactic categories.

How is our subjection to the social law experienced? What is the role played by responsibility in our response to normative calls? Does lawful address embrace social vulnerability or rather does it cover its problem? The paper discusses the genesis of the responsible subjectivity from a phenomenological and a social standpoint, confronting Levinas’ phenomenological perspective on ethical responsibility with Althusser’s and Butler’s account of the subjective interpellation. If ethical and normative interpellation are often seen as overlapping, this paper discusses their differences as a critical resource for the phenomenological theory of subjectivity. The problem of the social law is analyzed in light of the material phenomenality of social suffering and of the ambivalence at work at the heart of any process of subjectivation. [ABSTRACT FROM AUTHOR]

The literary output that was produced during the rise of the British Empire often reflected the imperialist spirit that dominated the world at that time. Travel writing was one of the major fields which prospered in parallel with the spread of British global paramountcy. This literary genre contributed to strengthening and legitimising the imperialist and colonialist expansion and therefore represents one of the prominent samples for the postcolonial analytical framework. This paper will focus on one of these travel accounts, Seven Pillars of Wisdom: A Triumph (1935), written by Thomas Edward Lawrence also known as ‘Lawrence of Arabia’. Drawing upon postcolonial literary criticism, this paper will show the way Lawrence simultaneously reaffirms and rejects the imperialist and colonialist discourse in his portrayals. This paper will shed light on the ambivalence which prevails in Lawrence’s representations of the Orient. On the one hand, this research shows the way Lawrence showcases examples of imperialist thinking by reproducing stereotypical representations of the Orient through excessive aestheticisation or demeaning of Oriental people and landscapes. On the other hand, this paper highlights Lawrence’s departure from the conventional imperialist discourse with more nuanced portrayals. This paper contends that Lawrence’s Orientalist discourse is much more ambivalent and subtle than the conclusions elaborated by Edward Said in his critical theory of Orientalism.

We begin by situating this work and ourselves in graduate writing. Although our experiences as burgeoning researchers are not a focus of this article, we are nonetheless present in the background, not unlike a palimpsest. We trace one aspect of this palimpsest—the use of playful and creative methods to generate ideas for this paper—before then suggesting three key concepts we consider foundational to discussions about play and graduate writing development. These are play, playspace, and mindsets. Building on these concepts, we offer some concluding remarks about the ambivalence some learners may have—which we refer to as play ambivalence—and propose that this ambivalence is partly related to the three concepts underscored in this article. We suggest that future research in play and graduate writing development could better consider this play ambivalence.

Copyright of Insāniyāt / Revue Algérienne d'Anthropologie et de Sciences Sociales is the property of Centre de Recherche en Anthropologie Sociale et Culturelle (CRASC) 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.)

A Lost Letter by I.L. Caragiale, a landmark in the history of Romanian theatre, has enjoyed throughout time numerous critical interpretations, without losing its dramatic potential. We intend to study the comic mechanism through a variety of dramatic strategies: the diversity of the scenes, the circular actions, the baffling succession of situations, starting with the loss of the compromising love letter. This play features the actors of a political electoral farce overflowing with a vaudeville-like comic, that in conjunction with parody, is targeting the ideological clichés and verbal stereotypes. A logically inconceivable humour that borders the absurd. The purpose of this kind of humour, unleashed during comical situations, is not hiding the immorality, the demagogy of a socio-political reality put under the critical scope of the author. The joyful, bitter or cruel laughter are being in a continuous competition here. The humour is thus the element that subverts the values of political commitment. [ABSTRACT FROM AUTHOR]

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

Cet article explore les origines, les manifestations et les significations des ambivalences et contradictions de la représentation que les cadres chinois masculins travaillant en entreprise à Londres se font de leur propre identité culturelle et de genre, dans un contexte de modernité post-socialiste propre à la Chine du XXIe siècle. Ce faisant, il révèle comment la représentation de soi des hommes chinois des classes moyennes rejoint des débats nationaux plus larges concernant la place de la Chine sur la scène internationale. Afin de comprendre le désir d'une partie des personnes interrogées «de devenir des gentlemans chinois», cet article introduit la notion de sublime confucéen post-socialiste, une conception d'un ordre culturel de plus en plus populaire auprès des hommes chinois des classes moyennes diplômés du supérieur. L'article soutient que le sublime confucéen offre aux cadres chinois vivant à l'étranger la possibilité de transcender leur ambivalence face à la modernité occidentale en leur procurant un sentiment de plénitude et d'accomplissement, à la fois à un niveau personnel et au regard de la place de la Chine dans le monde contemporain. [ABSTRACT FROM AUTHOR]

Copyright of Philological Research & Studies. Romance Languages Series / Studii şi Cercetări Filologice. Seria Limbi Romanice is the property of Philological Research & Studies. Romance Languages Series and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Présence Francophone is the property of College of Holy Cross, Department of Modern Languages & Literatures 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 Hermeneus is the property of Revista Hermeneus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cet essai explore les transformations déconcertantes que Munro fait subir aux personnages principaux, aux événements et à leur mise en scène en utilisant des images animales ou végétales dans “The Bear Came Over the Mountain”. Les variantes et les transformations de ces images permettent par exemple à un même personnage d’être associé à un oiseau bleu, à un chien loup et à des renoncules âcres. Une attention particulière est portée aux références culturelles évoquées par Munro, qui s’étendent de Walt Disney aux sagas islandaises. Cet essai pose l’hypothèse que ces images mouvantes sont moins destinées à fournir une riche variété de traits de caractère qu’à mettre en jeu les brusques changements de direction qui nous rendent tous finalement impénétrables et qui donnent à la vie sa dimension douloureusement imprévisible et ironique.

In his poetry Apollinaire uses different registers and literary genres. With a kind of freedom he distances himself from those models. All this also happens in relation to the autobiographical material of some poems. This process of distancing is done through a practice of irony that is linked to his creative imagination. His irony is therefore not only a simple defense mechanism against certain subjects but above all a poetic strategy that aims to preserve the contradiction of the subject and the ambivalence in front of his personal history and some aspects of reality.

Both fat people and queer people diverge from the norms that control who is perceived as societally normal versus abnormal. While literature on the closet has encapsulated the experiences of the two subject positions as distinct entities, limited scholarship examines the relationship between fatness and queerness vis-à-vis the closet. Drawing on fat studies, queer theory, and autoethnography, I critically examine my encounters with the closet both inside and outside of Greece. Reflecting on my experience as a queer fat boy/man who spent a great deal of his teenage and early adult life in Greece and the United Kingdom, I weave together stories and emotions embodied in different spatiotemporal contexts and problematize notions of gender, sexuality, fatness, agency, and Greekness. This article considers how a subject may react to and negotiate the tensions that arise when multiple identity markers intersect, overlap and/or collide. It also revisits the undertheorized concept of ambivalence through a queer lens, in order to propose fresh strategies and ways of inhabiting bodies, identities, and spaces.

The ancient theme of the double is highly fertile in Eric-Emmanuel Schmitt's short-stories; who thus inscribes his creations in the literary tradition invoked by the critic Thierry Ozwald, for whom duality touches all the components of any short-story, becoming « a law of the genre ». The present article aims to examine the means of the double in the short-story « Un amour à l'Élysée » grouped along three axes: duality and social life, duality and affective life, duality and ontologica! quest. Each thematic manifestation of the double corresponds to a narrative technique that reinforces it: free indirect speech, theatrical dialogues, mise en abyme. The article also aims to analyze the dialogue of this text with the literary tradition of the double, emphasizing the aspects of continuity on the one hand and of innovation on the other hand. [ABSTRACT FROM AUTHOR]

Copyright of Politix is the property of De Boeck Universite 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 Sur le Journalisme, About Journalism, Sobre Jornalismo is the property of Sur le journalisme, About journalism, Sobre jornalismo 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 Interventions Économiques is the property of Association d'Economie Politique 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.)

Underground spaces raise anxieties and fears that are linked to a highly unfavorable imagination. Our contribution aims to establish the major cardinals points of the imaginary of the deep-underground based on the French anthropology of the imaginaire (Gaston Bachelard, Gilbert Durand). It states that the imagination nurtures a human emotional and affective relationship with space which structures the experience of a world. In the imagination, the qualities of underground spaces take on an ambivalent character. From a literary bibliography of the great stories that condense the various components of the imaginary underground into coherent sets of images, we identify five topical cardinal points of the imaginary of the underground. Firstly, depth is the most pregnant and has given rise to many stories, especially those devoted to the underworld, whose imagination still remains widespread today. Other features are the closure of space; the absence of landmarks; hollow space and the space below with respect to the space above. The imaginaire of the underground largely marked by anxiety also leaves room for other themes such as deep rest, the initiation quest, the desire to excel, fun exploration and creative subversion. The ambivalence of these qualities contributes to the richness of our experience and allows us to nurture leads towards the development of existing urban underground spaces combined in diverse strategies. The aim is to integrate underground spaces into the experience of a world. [ABSTRACT FROM AUTHOR]

By questioning loneliness as a motive for mountain practice and as mode of "exercise of the space", this article deals with walking, hiking and mountaineering through isolation and being alone. It proposes to discuss the foundations of solitude considered both as experience and feeling, by making the hypothesis that mountain appears as a privileged space to meet it. More chimera than an objectified human being in the world, loneliness remains nonetheless ubiquitous in mountain litterature, which invites us to explore its various and even paradoxical forms. Deeply internalized or necessarily shared, constructed or represented through mountain materiality, abyss or refuge, it is a protean object that questions us more widely about the relation to the world and the relation to oneself. It questions the individual practice of the space just as much as the social interactions which surround it. [ABSTRACT FROM AUTHOR]