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El presente artículo constituye un aporte al conocimiento del arte en su vinculación con la filosofía y el psicoanálisis, en tanto aborda la tensión entre la representación y la construcción simbólica de la imagen artística en el contexto cultural/estético contemporáneo, mediantela relación entre lo Real lacaniano y la estática negativa de Adorno. Dicha relación encuentra su punto de articulación en el fenómeno estético de lo Bello, entendido como lo que encara al sujeto con el vacío de su deseo radical, sin engañarlo y que permite integrar la negatividad propia de lo Real con los elementos formales que componen la obra artística, así como con los conceptos de radicalidad y autenticidad de la propuesta adorniana. La articulación entre la estética negativa de Adorno y el efecto estético de lo Bellode Lacan, se ejemplifica con una interpretación en clave psicoanalítica de la obra de la artista colombiana Doris Salcedo., This article constitutes a contribution to the knowledge of art in its connection with philosophy and psychoanalysis, as it approaches to the tension between the representation and the symbolic construction of the artistic image in the contemporary cultural / aesthetic context, through the relationship between the Lacanian Real and Adorno's negative aesthetic. This relationship finds its articulation point in the aesthetic phenomenon of the Beautiful, understood as what confronts the subject with the emptiness of its radical desire, without deceiving it and that allows to integrate the Real ́s negativity with the formal elements that make up the artistic work, as well as the Adornian proposal concepts of radicality and authenticity. At the end, a psychoanalytic interpretation of colombian artist Doris Salcedo’s work is made, in which the negative aesthetics and the aesthetic effect of the Beautiful are integrated, Fac. de Filosofía, TRUE, pub

The advancement of surgical procedures for gingival repair and restorative treatments for anterior teeth, which stand out in the scientific community, has been fundamentally influenced by the pursuit of aesthetics. The purpose of the current study is to describe the clinical behaviour of a patient who has small teeth and a gummy smile. The goal was to use a clinical case to illustrate how anterior cosmetic rehabilitation, which includes gingivectomy and composite resin veneers, can be accomplished. The restoration of anterior teeth involves using better shades, colours, opacities, translucency, and anatomical onformation, while treatments that combine dentistry and periodontics are capable of producing good results, enabling normalisation of the gums, correcting their deformities, and restoring the interdental grooves and papillae. Periodontal surgery called a gingivectomy involves removing extra gum tissue. The purpose of the procedure is to change the tooth’s contour, which generates an increase in the clinical crown, providing a smile with adequate protection and support for the oral environment. Resin veneers or direct restoration on anterior teeth are the dental remodelling treatment that guarantees longevity and satisfactory results, in addition to being minimally invasive. The adhesive systems and composite resins available are of high quality, do not impose aesthetic limits, and allow a natural effect determined by the excellence and technical knowledge of the operator. The plan accomplishment allowed reaching the aesthetic principles and establishing a better contour shape and size, both of the gingival tissue and of the anterior teeth. Thus, the procedure was always performed prioritising the demands and satisfaction of the patient, generating excellent clinical results. This research is duly authorized by Opinion: 6.275.546 CEP/CONEP., El avance de los procedimientos quirúrgicos para la reparación gingival y los tratamientos restauradores de los dientes anteriores, que se destacan en la comunidad científica, ha sido fundamentalmente influenciado por la búsqueda de la estética. El propósito del presente estudio es describir el comportamiento clínico de un paciente que tiene dientes pequeños y una sonrisa gingival. El objetivo era utilizar un caso clínico para ilustrar cómo se puede lograr la rehabilitación cosmética anterior, que incluye gingivectomía y carillas de resina compuesta. La restauración de los dientes anteriores implica utilizar mejores tonalidades, colores, opacidades, translucidez y información anatómica, mientras que los tratamientos que combinan odontología y periodoncia son capaces de producir buenos resultados, permitiendo la normalización de las encías, corrigiendo sus deformidades y restaurando los surcos interdentales y las papilas. La cirugía periodontal llamada gingivectomía consiste en extirpar tejido adicional de las encías. El propósito del procedimiento es cambiar el contorno del diente, lo que genera un aumento en la corona clínica, proporcionando una sonrisa con protección y soporte adecuados para el entorno oral. Las carillas de resina o restauración directa sobre dientes anteriores son el tratamiento de remodelación dental que garantiza longevidad y resultados satisfactorios, además de ser mínimamente invasivo. Los sistemas adhesivos y resinas compuestas disponibles son de alta calidad, no imponen límites estéticos y permiten un efecto natural determinado por la excelencia y el conocimiento técnico del operador. El cumplimiento del plan permitió alcanzar los principios estéticos y establecer una mejor forma y tamaño del contorno, tanto del tejido gingival como de los dientes anteriores. Por lo tanto, el procedimiento siempre se realizó priorizando las demandas y la satisfacción del paciente, generando excelentes resultados clínicos. Esta investigación está debidamente, A procura pela área da estética odontológica vem sendo fundamental para o avanço das áreas cirúrgicas de reparação gengival e tratamentos restauradores de dentes anteriores, destacando-se no âmbito científico. O presente estudo tem como finalidade relatar a conduta clínica executada a uma paciente com sorriso gengival e dentes curtos. Objetivou-se demonstrar através de um caso clínico a reabilitação estética anterior englobando gengivectomia e facetas em resina composta. Tratamentos que relacionam periodontia e dentística são capazes de proporcionar bons resultados. Dessa forma, tais tratamentos possibilitam a normalização da gengiva corrigindo suas deformidades, restabelecendo os sulcos e papilas interdentais, além de compreender a aplicação de melhores tonalidades, cores, opacidades, translucidez e a conformação anatômica aos dentes anteriores. A gengivectomia é uma cirurgia periodontal que consiste na retirada de excessos gengivais. O procedimento tem como finalidade a alteração do contorno do dente, o qual gera um aumento da coroa clínica, proporcionando um sorriso com a proteção e suporte adequado para o meio bucal. As facetas em resina composta ou restaurações diretas em dentes anteriores é o tratamento de remodelação dentária, que garante longevidade e resultados satisfatórios, além de ser minimante invasivo. Os sistemas adesivos e resinas compostas disponíveis no mercado possuem uma alta qualidade, não impõem limites estéticos e possibilitam um efeito natural determinado pela excelência e conhecimento técnico do operador. A realização do planejamento permitiu alcançar os princípios estéticos e estabelecer uma melhor forma de contorno e tamanho, tanto do tecido gengival como dos dentes anteriores. Com isso, o procedimento foi realizado sempre priorizando as exigências e a satisfação do paciente, gerando excelentes resultados clínicos. Esta pesquisa está devidamente autorizada pelo Parecer: 6.275.546 CEP/CONEP.

The advancement of surgical procedures for gingival repair and restorative treatments for anterior teeth, which stand out in the scientific community, has been fundamentally influenced by the pursuit of aesthetics. The purpose of the current study is to describe the clinical behaviour of a patient who has small teeth and a gummy smile. The goal was to use a clinical case to illustrate how anterior cosmetic rehabilitation, which includes gingivectomy and composite resin veneers, can be accomplished. The restoration of anterior teeth involves using better shades, colours, opacities, translucency, and anatomical onformation, while treatments that combine dentistry and periodontics are capable of producing good results, enabling normalisation of the gums, correcting their deformities, and restoring the interdental grooves and papillae. Periodontal surgery called a gingivectomy involves removing extra gum tissue. The purpose of the procedure is to change the tooth’s contour, which generates an increase in the clinical crown, providing a smile with adequate protection and support for the oral environment. Resin veneers or direct restoration on anterior teeth are the dental remodelling treatment that guarantees longevity and satisfactory results, in addition to being minimally invasive. The adhesive systems and composite resins available are of high quality, do not impose aesthetic limits, and allow a natural effect determined by the excellence and technical knowledge of the operator. The plan accomplishment allowed reaching the aesthetic principles and establishing a better contour shape and size, both of the gingival tissue and of the anterior teeth. Thus, the procedure was always performed prioritising the demands and satisfaction of the patient, generating excellent clinical results. This research is duly authorized by Opinion: 6.275.546 CEP/CONEP., El avance de los procedimientos quirúrgicos para la reparación gingival y los tratamientos restauradores de los dientes anteriores, que se destacan en la comunidad científica, ha sido fundamentalmente influenciado por la búsqueda de la estética. El propósito del presente estudio es describir el comportamiento clínico de un paciente que tiene dientes pequeños y una sonrisa gingival. El objetivo era utilizar un caso clínico para ilustrar cómo se puede lograr la rehabilitación cosmética anterior, que incluye gingivectomía y carillas de resina compuesta. La restauración de los dientes anteriores implica utilizar mejores tonalidades, colores, opacidades, translucidez y información anatómica, mientras que los tratamientos que combinan odontología y periodoncia son capaces de producir buenos resultados, permitiendo la normalización de las encías, corrigiendo sus deformidades y restaurando los surcos interdentales y las papilas. La cirugía periodontal llamada gingivectomía consiste en extirpar tejido adicional de las encías. El propósito del procedimiento es cambiar el contorno del diente, lo que genera un aumento en la corona clínica, proporcionando una sonrisa con protección y soporte adecuados para el entorno oral. Las carillas de resina o restauración directa sobre dientes anteriores son el tratamiento de remodelación dental que garantiza longevidad y resultados satisfactorios, además de ser mínimamente invasivo. Los sistemas adhesivos y resinas compuestas disponibles son de alta calidad, no imponen límites estéticos y permiten un efecto natural determinado por la excelencia y el conocimiento técnico del operador. El cumplimiento del plan permitió alcanzar los principios estéticos y establecer una mejor forma y tamaño del contorno, tanto del tejido gingival como de los dientes anteriores. Por lo tanto, el procedimiento siempre se realizó priorizando las demandas y la satisfacción del paciente, generando excelentes resultados clínicos. Esta investigación está debidamente, A procura pela área da estética odontológica vem sendo fundamental para o avanço das áreas cirúrgicas de reparação gengival e tratamentos restauradores de dentes anteriores, destacando-se no âmbito científico. O presente estudo tem como finalidade relatar a conduta clínica executada a uma paciente com sorriso gengival e dentes curtos. Objetivou-se demonstrar através de um caso clínico a reabilitação estética anterior englobando gengivectomia e facetas em resina composta. Tratamentos que relacionam periodontia e dentística são capazes de proporcionar bons resultados. Dessa forma, tais tratamentos possibilitam a normalização da gengiva corrigindo suas deformidades, restabelecendo os sulcos e papilas interdentais, além de compreender a aplicação de melhores tonalidades, cores, opacidades, translucidez e a conformação anatômica aos dentes anteriores. A gengivectomia é uma cirurgia periodontal que consiste na retirada de excessos gengivais. O procedimento tem como finalidade a alteração do contorno do dente, o qual gera um aumento da coroa clínica, proporcionando um sorriso com a proteção e suporte adequado para o meio bucal. As facetas em resina composta ou restaurações diretas em dentes anteriores é o tratamento de remodelação dentária, que garante longevidade e resultados satisfatórios, além de ser minimante invasivo. Os sistemas adesivos e resinas compostas disponíveis no mercado possuem uma alta qualidade, não impõem limites estéticos e possibilitam um efeito natural determinado pela excelência e conhecimento técnico do operador. A realização do planejamento permitiu alcançar os princípios estéticos e estabelecer uma melhor forma de contorno e tamanho, tanto do tecido gengival como dos dentes anteriores. Com isso, o procedimento foi realizado sempre priorizando as exigências e a satisfação do paciente, gerando excelentes resultados clínicos. Esta pesquisa está devidamente autorizada pelo Parecer: 6.275.546 CEP/CONEP.

El presente artículo constituye un aporte al conocimiento del arte en su vinculación con la filosofía y el psicoanálisis, en tanto aborda la tensión entre la representación y la construcción simbólica de la imagen artística en el contexto cultural/estético contemporáneo, mediantela relación entre lo Real lacaniano y la estática negativa de Adorno. Dicha relación encuentra su punto de articulación en el fenómeno estético de lo Bello, entendido como lo que encara al sujeto con el vacío de su deseo radical, sin engañarlo y que permite integrar la negatividad propia de lo Real con los elementos formales que componen la obra artística, así como con los conceptos de radicalidad y autenticidad de la propuesta adorniana. La articulación entre la estética negativa de Adorno y el efecto estético de lo Bellode Lacan, se ejemplifica con una interpretación en clave psicoanalítica de la obra de la artista colombiana Doris Salcedo., This article constitutes a contribution to the knowledge of art in its connection with philosophy and psychoanalysis, as it approaches to the tension between the representation and the symbolic construction of the artistic image in the contemporary cultural / aesthetic context, through the relationship between the Lacanian Real and Adorno's negative aesthetic. This relationship finds its articulation point in the aesthetic phenomenon of the Beautiful, understood as what confronts the subject with the emptiness of its radical desire, without deceiving it and that allows to integrate the Real ́s negativity with the formal elements that make up the artistic work, as well as the Adornian proposal concepts of radicality and authenticity. At the end, a psychoanalytic interpretation of colombian artist Doris Salcedo’s work is made, in which the negative aesthetics and the aesthetic effect of the Beautiful are integrated, Fac. de Filosofía, TRUE, pub

This thesis is a study of race and ethnicity in culture and the arts. It discusses whiteness and racism in ballet and addresses a gap in the literature for both disciplines Ballet and Race and Ethnic Studies. Even if ballet is a privileged art form that for centuries has served statecraft, survived revolutions, and political instability the problem of race in ballet is jeopardizing its validity and acceptance in the contemporary world. I ask if racism in ballet is more than behaviors, if it designates ideology, or if it is a matter of visuality and aesthetics. I do this to provide insight into how race is projected in and through the art form in question. The need to transcend the scope of a single discipline brought me to adopt interdisciplinary research to analyze ballet right at the intersection with crossing perspectives linked to the body, aesthetics, performance, privilege, race, and gender. The thesis shows that ballet gives material expression to whiteness as ideology and is compliant with an exclusive approach to an idea of the body and beauty that presupposes racist attitudes and behaviors. At the institutional level, the experience of ballet is whiteness -unnamed, unmarked, universal. But for those bodies outside the constructs of whiteness, the experience is marked by racism and objective barriers. The study informs that an exclusive discourse of the body, often disguised as aesthetic discourse, translates into limited access to ballet education, body shaming, harassment, and fewer job opportunities. However, ballet is an art form, it is more than whiteness or racism. It creates beauty in the body of the dancer which is both instrument and object of art. Ballet dancers invest their lives learning and performing an art form that some other people cherish, but how come a space of whiteness and racism is perceived as beautiful? The thesis elucidates the importance of this reflection also.

This thesis is a study of race and ethnicity in culture and the arts. It discusses whiteness and racism in ballet and addresses a gap in the literature for both disciplines Ballet and Race and Ethnic Studies. Even if ballet is a privileged art form that for centuries has served statecraft, survived revolutions, and political instability the problem of race in ballet is jeopardizing its validity and acceptance in the contemporary world. I ask if racism in ballet is more than behaviors, if it designates ideology, or if it is a matter of visuality and aesthetics. I do this to provide insight into how race is projected in and through the art form in question. The need to transcend the scope of a single discipline brought me to adopt interdisciplinary research to analyze ballet right at the intersection with crossing perspectives linked to the body, aesthetics, performance, privilege, race, and gender. The thesis shows that ballet gives material expression to whiteness as ideology and is compliant with an exclusive approach to an idea of the body and beauty that presupposes racist attitudes and behaviors. At the institutional level, the experience of ballet is whiteness -unnamed, unmarked, universal. But for those bodies outside the constructs of whiteness, the experience is marked by racism and objective barriers. The study informs that an exclusive discourse of the body, often disguised as aesthetic discourse, translates into limited access to ballet education, body shaming, harassment, and fewer job opportunities. However, ballet is an art form, it is more than whiteness or racism. It creates beauty in the body of the dancer which is both instrument and object of art. Ballet dancers invest their lives learning and performing an art form that some other people cherish, but how come a space of whiteness and racism is perceived as beautiful? The thesis elucidates the importance of this reflection also.

En una sociedad de la imagen y del culto al cuerpo como la actual, ha aumentado el número de personas que de modo obsesivo en torno a sí mismas. La presión cosmética a través de los mass media, de la publicidad y en especial de las redes sociales, está generando una nueva alteración tipificada ya por los especialistas como trastorno narcisista de la personalidad. A lo largo de la historia de la humanidad siempre ha existido la vanidad narcisista como un rasgo típico humano. Pero en la actualidad, el narcisismo se ha convertido en un fenómeno de masas, una extensión fomentada por la hipertrofia de la imagen corporal a la que se le asignado un valor excesivo en la vida de la persona. En este trabajo describimos este fenómeno circunscrito sobre todo al mundo juvenil y alertamos de los riesgos antropológicos y las crisis de identidad que se están generando.

El artículo surge de una investigación posdoctoral en curso, que pretende extraer de la filosofía hermenéutica fundamentos teóricos para la comprensión de las obras de arquitectura. En este caso, recurre a Luigi Pareyson, autor considerado, junto a Gadamer y Ricoeur, uno de los mayores exponentes de la hermenéutica en la segunda posguerra. Pareyson desarrolla un pensamiento estético, en particular la 'teoría de la formatividad'. El presente texto toma de allí una reflexión concreta, y en base a ella pone en relación, bajo un mismo estudio conceptual, a autores como Rafael Moneo, Sáenz de Oíza, Luigi Andreoni, Álvaro Siza, Fernando Távora o Eladio Dieste; hallando que tienen en común la presencia, a la vez, de la 'artisticidad' de una obra, que significa un esfuerzo humano por alcanzar la perfección, así como de la consecución del 'logro' en el campo estético que supone una 'obra de arte'., This article arises from ongoing postdoctoral research, whose objective is to extract from hermeneutics some theoretical principles for the understanding of architectural works. In this case, the text draws upon Luigi Pareyson, an author considered one of the greatest exponents of hermeneutics in the Post-World War II era, alongside Gadamer and Ricoeur. Pareyson develops an aesthetic philosophy, called 'Teoria della Formatività' (Theory of Formativity). This text takes a concrete reflection of Pareyson and, on that basis, establishes a conceptual relationship between authors such as Rafael Moneo, Sáenz de Oíza, Luigi Andreoni, Álvaro Siza, Fernando Távora or Eladio Dieste; discovering that they have in common the 'artisticness' of a work that represents a human effort to achieve perfection, as well as the consecration of an 'achievement' in the field of aesthetics that signifies an 'artwork'.

En las siguientes páginas vamos a exponer varias características de internet, así como algunos conceptos generales a tener en cuenta para poder valorar, en su justa medida, el potencial de esta herramienta tecnológica y su posible incidencia en aspectos muy relevantes de nuestra vida, como es la intimidad. Todo ello con el objetivo de advertir sobre la existencia de contenidos y webs altamente inapropiados para cualquier persona y, en especial, para los más jóvenes, así como sobre la dificultad real de impedir o limitar su libre acceso. Para después, analizar esta situación en el caso concreto de las páginas de apoyo a los trastornos de anorexia y bulimia, que tanto daño pueden hacer a las personas afectadas por estas enfermedades.

La enorme difusión que anorexia y bulimia están teniendo en los medios de comunicación y el aumento preocupante de su incidencia en la población más joven han suscitado un gran interés sobre este campo, propiciando numerosos trabajos de investigación, publicaciones, formación de expertos en prevención, diagnóstico y tratamiento. Asimismo, también han aparecido variadas páginas web que veneran la delgadez, promueven ese peculiar estilo de vida, enseñan a cómo ponerlo en práctica e invitan a no decaer en el intento de conseguir cada vez un cuerpo más y más delgado. A lo largo del presente capítulo vamos a hacer un recorrido por ambos trastornos con el objetivo de esclarecer conceptos relevantes, entender cómo aparecen y se instauran dichas enfermedades, ofrecer algunas orientaciones al respecto y, en definitiva, contribuir a una mejor comprensión de los TCA (Trastornos de la Conducta Alimentaria).

[ES] Tras la valoración de las distintas alternativas, se ha determinado una propuestas óptima a partir de dos modelos ideados. Posteriormente, se ha realizado una descripción detallada de la solución, teniendo en cuenta factores como los materiales, las necesidades para la obtención del revelado de las fotografías, la resistencia estructural del producto, los procesos industriales necesarios para su fabricación y el embalaje., [EN] This project aims to design and develop a furniture for the reveal of photographs. After evaluating the different alternatives, an optimal proposal has been determined from two models devised. Subsequently, it has been a detailed description of the solution, taking into account factors such as materials, the needs for obtaining the development of photographs, the structural strength of the product, the industrial processes necessary for its manufacture and packaging.

The study aims to investigate peculiarities of the Russian ballet at the end of the XIXth century - beginning of the XXth century in the plastic of small forms via comparative qualitative research methods. As a result, Russian Seasons became a sort of culmination in the exchange of cultures between Russia and Europe and a kind of bridge into the future for Russian art. In conclusion, ballet iconography is one of the most important branches of theater science, the science dealing with graphic material that reflects certain aspects of dance performance.

[ES] Tras la valoración de las distintas alternativas, se ha determinado una propuestas óptima a partir de dos modelos ideados. Posteriormente, se ha realizado una descripción detallada de la solución, teniendo en cuenta factores como los materiales, las necesidades para la obtención del revelado de las fotografías, la resistencia estructural del producto, los procesos industriales necesarios para su fabricación y el embalaje., [EN] This project aims to design and develop a furniture for the reveal of photographs. After evaluating the different alternatives, an optimal proposal has been determined from two models devised. Subsequently, it has been a detailed description of the solution, taking into account factors such as materials, the needs for obtaining the development of photographs, the structural strength of the product, the industrial processes necessary for its manufacture and packaging.

La mejora estética proporciona satisfacción humana y un incremento en la autoestima personal. Resulta comprensible e incluso deseable el embellecimiento para sentirse mejor y más aún si ha habido una herida, un accidente o si existe un defecto físico congénito. Es un hecho que cada vez más personas en el mundo se embellecen o se dedican a embellecer a otros. La belleza está más de moda que nunca. Pero como es tan grande y sublime, si se enclaustra en un molde único, en un estereotipo o icono de moda, se queda sin aire. La autenticidad de la belleza no debería banalizarse encajándola en una única talla, o identificándola con una selecta celebrity que la encarne espectacularmente. Uniformar la belleza o hacerla depender de unos parámetros prefijados arbitrariamente es poner un gran obstáculo para que pueda expresar la totalidad de su verdad y de su bondad. A través de la publicidad, los mass media y algunas clínicas estéticas, se está difundiendo un nuevo concepto de belleza que representa una visión unidimensional de la persona, reduciéndola solo a physis. El cuerpo humano se convierte en una plataforma física, en un campo de experimentación aislado donde se puede intervenir de cualquier modo y cuanto se desee con tal de conseguir el icono de moda, por cierto, inalcanzable para la mayoría de personas. Si la belleza es un bien y un encanto para el hombre, ¿por qué convertirla en una fuente de sufrimientos imponiéndole un icono que acaba fragmentando a la persona que lo busca ansiosamente. / The aesthetic improvement provides human satisfaction and an increase in personal self-esteem. It is understandable and even desirable embellishment to feel better and even more if there has been a wound, an accident o if there is a congenial physical defect. It is a fact that more and more people in the world embellish themselves or dedicate to embellish others. Beauty is more fashionable than ever. But as it is so great and sublime if it is cloistered in a unique mould, in a ster

En los últimos años ha aparecido una nueva tipología de paciente denominado paciente estético que acude a técnicas para satisfacer deseos de embellecimiento corporal: cirugías, tratamientos cosméticos. Pero se trata de pacientes sanos que no padecen enfermedades. ¿Son pacientes reales? Algunos médicos consideran que estamos ante una nueva situación que hace replantearse los fines de la medicina y algunos principios bioéticos. La avalancha de estos pacientes ha generado un debate sociosanitario. ¿Debería cubrir la sanidad pública los casos de personas que sin tener síntomas claros de enfermedad creen “padecer” una anormalidad que no es posible fundamentar en evidencias científico-médicas? ¿Es realmente una necesidad terapéutica la satisfacción de un deseo estético subjetivo? ¿Dónde fijamos el límite teniendo en cuenta que muchos apelan al respeto a su autonomía para satisfacer esas necesidades? Estas intervenciones no están exentas de riesgos físicos y psíquicos. No deberían banalizarse estas consecuencias negativas. Es un área creciente en demandas por daños y perjuicios. Habría que valorar si algunos médicos están siendo cómplices en difundir normas de belleza y estilos de vidas que no parecen tan saludables. / In the recent years, a new type of patient has appeared: the aesthetic patient, who aims to satisfy desires of body beautification through surgeries and cosmetic treatments. But they are healthy patients who do not suffer from diseases. Are they real patients? Some doctors consider that we are facing a new situation that pushes us to rethink the ends of medicine and some bioethical principles. The avalanche of these patients has generated a public health debate. Should public health cover cases of people who, without clear symptoms of illness, believe that they "suffer" an abnormality that can not be based on scientific and medical evidence? Is the satisfaction of a subjective aesthetic desire really a therapeutic need? Where do we set the limit, taking into

The purpose of this study was to investigate the major challenges faced during Teaching integrated subjects (Aesthetics and Physical Education) of Dessie town primary first cycle schools. The participants in this study were teachers, and school principals. Among the 44 primary schools found in the Town, 17 (11 government and 6 private) schools were selected by stratified random sampling technique. From these schools 61 (100%) APE teachers and 8 (47.05%) principals were taken as a sample because their number is manageable. The schools from each strata, principals and class for observation were selected using simple random sampling technique through lottery method. As a method of data gathering tools; questionnaire, interview, observation and document analysis were employed. To analyze the collected data, both quantitative and qualitative methods were used. The results of the study revealed that teaching of integrated subjects (aesthetics and physical education) in the PFCS: was not at the appropriate standard, because of the following reasons: the inadequate time allotment per week; the inappropriate contents; the absence of sufficient qualified teachers; the use of APE period for theory than practice; the use of inappropriate instruction and assessment technique for practical physical education, art and music; the facilities and equipment was not sufficiently available or totally absent; the integration of physical education with art and music; the low attitude of teachers; the inadequate facilities and equipment; the in appropriate contents in the curriculum materials and the low interest of school officials and community for APE were found as a major challenges in teaching Aesthetics and physical education in the PFCS. To overcome these problems the following recommendations have been forwarded. These are: the necessary facilities and equipment should be available; art, music and physical education should be given to students separately; training, workshops an

The purpose of this study was to investigate the major challenges faced during Teaching integrated subjects (Aesthetics and Physical Education) of Dessie town primary first cycle schools. The participants in this study were teachers, and school principals. Among the 44 primary schools found in the Town, 17 (11 government and 6 private) schools were selected by stratified random sampling technique. From these schools 61 (100%) APE teachers and 8 (47.05%) principals were taken as a sample because their number is manageable. The schools from each strata, principals and class for observation were selected using simple random sampling technique through lottery method. As a method of data gathering tools; questionnaire, interview, observation and document analysis were employed. To analyze the collected data, both quantitative and qualitative methods were used. The results of the study revealed that teaching of integrated subjects (aesthetics and physical education) in the PFCS: was not at the appropriate standard, because of the following reasons: the inadequate time allotment per week; the inappropriate contents; the absence of sufficient qualified teachers; the use of APE period for theory than practice; the use of inappropriate instruction and assessment technique for practical physical education, art and music; the facilities and equipment was not sufficiently available or totally absent; the integration of physical education with art and music; the low attitude of teachers; the inadequate facilities and equipment; the in appropriate contents in the curriculum materials and the low interest of school officials and community for APE were found as a major challenges in teaching Aesthetics and physical education in the PFCS. To overcome these problems the following recommendations have been forwarded. These are: the necessary facilities and equipment should be available; art, music and physical education should be given to students separately; training, workshops an

The purpose of this study was to investigate the major challenges faced during Teaching integrated subjects (Aesthetics and Physical Education) of Dessie town primary first cycle schools. The participants in this study were teachers, and school principals. Among the 44 primary schools found in the Town, 17 (11 government and 6 private) schools were selected by stratified random sampling technique. From these schools 61 (100%) APE teachers and 8 (47.05%) principals were taken as a sample because their number is manageable. The schools from each strata, principals and class for observation were selected using simple random sampling technique through lottery method. As a method of data gathering tools; questionnaire, interview, observation and document analysis were employed. To analyze the collected data, both quantitative and qualitative methods were used. The results of the study revealed that teaching of integrated subjects (aesthetics and physical education) in the PFCS: was not at the appropriate standard, because of the following reasons: the inadequate time allotment per week; the inappropriate contents; the absence of sufficient qualified teachers; the use of APE period for theory than practice; the use of inappropriate instruction and assessment technique for practical physical education, art and music; the facilities and equipment was not sufficiently available or totally absent; the integration of physical education with art and music; the low attitude of teachers; the inadequate facilities and equipment; the in appropriate contents in the curriculum materials and the low interest of school officials and community for APE were found as a major challenges in teaching Aesthetics and physical education in the PFCS. To overcome these problems the following recommendations have been forwarded. These are: the necessary facilities and equipment should be available; art, music and physical education should be given to students separately; training, workshops an

The purpose of this study was to investigate the major challenges faced during Teaching integrated subjects (Aesthetics and Physical Education) of Dessie town primary first cycle schools. The participants in this study were teachers, and school principals. Among the 44 primary schools found in the Town, 17 (11 government and 6 private) schools were selected by stratified random sampling technique. From these schools 61 (100%) APE teachers and 8 (47.05%) principals were taken as a sample because their number is manageable. The schools from each strata, principals and class for observation were selected using simple random sampling technique through lottery method. As a method of data gathering tools; questionnaire, interview, observation and document analysis were employed. To analyze the collected data, both quantitative and qualitative methods were used. The results of the study revealed that teaching of integrated subjects (aesthetics and physical education) in the PFCS: was not at the appropriate standard, because of the following reasons: the inadequate time allotment per week; the inappropriate contents; the absence of sufficient qualified teachers; the use of APE period for theory than practice; the use of inappropriate instruction and assessment technique for practical physical education, art and music; the facilities and equipment was not sufficiently available or totally absent; the integration of physical education with art and music; the low attitude of teachers; the inadequate facilities and equipment; the in appropriate contents in the curriculum materials and the low interest of school officials and community for APE were found as a major challenges in teaching Aesthetics and physical education in the PFCS. To overcome these problems the following recommendations have been forwarded. These are: the necessary facilities and equipment should be available; art, music and physical education should be given to students separately; training, workshops an

The purpose of this study was to investigate the major challenges faced during Teaching integrated subjects (Aesthetics and Physical Education) of Dessie town primary first cycle schools. The participants in this study were teachers, and school principals. Among the 44 primary schools found in the Town, 17 (11 government and 6 private) schools were selected by stratified random sampling technique. From these schools 61 (100%) APE teachers and 8 (47.05%) principals were taken as a sample because their number is manageable. The schools from each strata, principals and class for observation were selected using simple random sampling technique through lottery method. As a method of data gathering tools; questionnaire, interview, observation and document analysis were employed. To analyze the collected data, both quantitative and qualitative methods were used. The results of the study revealed that teaching of integrated subjects (aesthetics and physical education) in the PFCS: was not at the appropriate standard, because of the following reasons: the inadequate time allotment per week; the inappropriate contents; the absence of sufficient qualified teachers; the use of APE period for theory than practice; the use of inappropriate instruction and assessment technique for practical physical education, art and music; the facilities and equipment was not sufficiently available or totally absent; the integration of physical education with art and music; the low attitude of teachers; the inadequate facilities and equipment; the in appropriate contents in the curriculum materials and the low interest of school officials and community for APE were found as a major challenges in teaching Aesthetics and physical education in the PFCS. To overcome these problems the following recommendations have been forwarded. These are: the necessary facilities and equipment should be available; art, music and physical education should be given to students separately; training, workshops an

Mounting ecological health concerns—for example climate change, pollution, and loss of biodiversity—occasion the need for innovative methods and interdisciplinary knowledge politics. Through empirical research and artistic mediations I demonstrate that practices of care are vital for reimagining ecological health. I contend that care, when materialised and performed through artworks, can engage with the complex question of how to bring about change. Within this exegesis, I adopt a case study approach to investigate three different artists’ practices, including Natalie Jeremijenko’s, Britta Riley’s and my own. Jeremijenko’s The Environmental Health Clinic stages public art experiments that reframe environmental concerns through a clinical health lens. Riley’s Windowfarms is an indoor garden art project that connects online communities who share sustainable designs. In the third case study, Black-Noise and Carbon Valley, I discuss artwork developed in response to the ecological health impacts of open cut coal mining in the Hunter Valley, New South Wales, Australia.* From an analysis of the three case studies I make a distinctive contribution by developing an ethos of “careful prospecting”. Careful prospecting, I argue, can be thought of as a means of learning how to care: it is a cosmopolitical practice that is about carefully tending to, tuning into, or becoming curious about ways in which healthy ecologies are produced. I offer careful prospecting as both a methodological and theoretical device for understanding and embodying practices of care in relation to ecological health concerns. Three modalities of careful prospecting were identified: experimenting, curating and listening. Each of these modalities, contributes to a sense of curiosity and obligation. Careful prospecting is about learning to be affected and mobilsing art as a means of engaging with ecological health crises. * The artwork is presented alongside this exegesis in the form of documentation of an

This article discusses the presence of the illustration on the press from the concepts of hybridization and complex image, using the phenomenology of aesthetic experience and hermeneutics. Conceptualizes elements of language iconographic and printing processes and discusses links between aesthetic and complex images hybridizations, the confrontation between the meaning contained in the aesthetic object and meaning produced in aesthetic perception, by a shift from mediummessage to the cultural mediations that characterize the processes of reception. The theoretical and methodological formulations of Josep Maria Català and Néstor García Canclini are here mainly present., En este artículo se analiza la presencia de la ilustración en la prensa a partir de los conceptos de hibridación e imagen compleja, utilizando la fenomenología de la experiencia estética y de la hermenéutica. Se conceptualizan elementos del lenguaje y la iconografía de los procesos de impresión y se analizan los vínculos entre las imágenes estéticas e hibridaciones complejas en la comparación entre el significado contenido en el objeto estético y el significado producido en la percepción estética, un cambio en el mediomensaje de mediaciones culturales que caracteriza a los procesos de recepción. Se presentarán principalmente las formulaciones teóricas y metodológicas de Josep Maria Català y Néstor García Canclini.

This study is an effort to analyse how Spanish cinephilia have received Iranian movies, which reached the commercial screens of Spain since their success on International film festivals. The interest in the Iranian Cinema in Spain arose not only out of their formal differences from the mainstream cinema but also from their status as Iranian cultural products, for being considered as culturally “other.” The visual style of directors like Kiarostami has been observed by the western coordinates in order to shed light on, and in some occasions to force, the influences by European film styles like Neorealism. As the resources of research and in order to approach to the cinephilia reactions, the points of view of critics and academics as well as opinions and news, which were reflected on press and on specialized magazines have been studied., Este estudio analiza la recepción de cine iraní en España que tras el éxito en los festivales internacionales llegan a las pantallas comerciales españolas desde mediados de los noventa. El interés surgido por este cine no ha sido solo el resultado del impacto de su diferencia formal con el cine narrativo dominante, sino por ser procedente de Irán, y por ser el producto cultural del “otro”. La diferencia estilística ha sido observada por las coordenadas europeas para ser atribuida, y en ocasiones forzada, para considerarse como una continuación de las influencias estilísticas cercanas como neorrealismo. Como fuentes de investigación han sido estudiados los puntos de vista de los críticos y los académicos de cine, al paralelo de las opiniones y noticias reflejadas en la prensa y revistas especializadas de cine.

This article discusses the presence of the illustration on the press from the concepts of hybridization and complex image, using the phenomenology of aesthetic experience and hermeneutics. Conceptualizes elements of language iconographic and printing processes and discusses links between aesthetic and complex images hybridizations, the confrontation between the meaning contained in the aesthetic object and meaning produced in aesthetic perception, by a shift from mediummessage to the cultural mediations that characterize the processes of reception. The theoretical and methodological formulations of Josep Maria Català and Néstor García Canclini are here mainly present., En este artículo se analiza la presencia de la ilustración en la prensa a partir de los conceptos de hibridación e imagen compleja, utilizando la fenomenología de la experiencia estética y de la hermenéutica. Se conceptualizan elementos del lenguaje y la iconografía de los procesos de impresión y se analizan los vínculos entre las imágenes estéticas e hibridaciones complejas en la comparación entre el significado contenido en el objeto estético y el significado producido en la percepción estética, un cambio en el mediomensaje de mediaciones culturales que caracteriza a los procesos de recepción. Se presentarán principalmente las formulaciones teóricas y metodológicas de Josep Maria Català y Néstor García Canclini.

This study is an effort to analyse how Spanish cinephilia have received Iranian movies, which reached the commercial screens of Spain since their success on International film festivals. The interest in the Iranian Cinema in Spain arose not only out of their formal differences from the mainstream cinema but also from their status as Iranian cultural products, for being considered as culturally “other.” The visual style of directors like Kiarostami has been observed by the western coordinates in order to shed light on, and in some occasions to force, the influences by European film styles like Neorealism. As the resources of research and in order to approach to the cinephilia reactions, the points of view of critics and academics as well as opinions and news, which were reflected on press and on specialized magazines have been studied., Este estudio analiza la recepción de cine iraní en España que tras el éxito en los festivales internacionales llegan a las pantallas comerciales españolas desde mediados de los noventa. El interés surgido por este cine no ha sido solo el resultado del impacto de su diferencia formal con el cine narrativo dominante, sino por ser procedente de Irán, y por ser el producto cultural del “otro”. La diferencia estilística ha sido observada por las coordenadas europeas para ser atribuida, y en ocasiones forzada, para considerarse como una continuación de las influencias estilísticas cercanas como neorrealismo. Como fuentes de investigación han sido estudiados los puntos de vista de los críticos y los académicos de cine, al paralelo de las opiniones y noticias reflejadas en la prensa y revistas especializadas de cine.

El discurso arquitectónico del 'parametricismo' parece haber agitado de forma determinante a la comunidad arquitectónica internacional en los últimos años. Movilizado originalmente por Patrik Schumacher, el término 'parametricismo' se refiere a un tipo de proceso proyectual caracterizado por la interrelación de variables de diseño (parámetros) a través de herramientas y técnicas computacionales. Sin embargo, más allá de esta definición estrictamente técnica, el 'parametricismo' también parece ser el término usado por un creciente número de arquitectos para definir su práctica, y, por tanto, puede ser generalizado como uno de los paradigmas (o 'movimientos') dominantes de la cultura arquitectónica de hoy., The architectural discourse of 'parametricism' seems to have galvanized the architectural community over the last few years. First mobilized by Patrik Schumacher, the term 'parametricism' refers to a type of design process characterized by the interrelation of design variables (or parameters) through computational tools and techniques. Beyond this strictly technical definition, however, 'parametricism' also seems to be the term by which a growing number of contemporary architects define their practice, and as such, can also be generalized as one of the dominant threads or 'movement' within the culture of architecture today. This article seeks to clarify and address the political dimensions of such a movement.

Electronic access restricted; authentication may be required, 9780823254934 (cloth), American Council of Learned Societies History E-Book Project, (heb) heb32068.0001.001, http://hdl.handle.net/2027/heb.32068, Permission must be received for any subsequent distribution in print or electronically. Please contact info@hebook.org for more information.

Electronic access restricted; authentication may be required, 9780823254934 (cloth), American Council of Learned Societies History E-Book Project, (heb) heb32068.0001.001, http://hdl.handle.net/2027/heb.32068, Permission must be received for any subsequent distribution in print or electronically. Please contact info@hebook.org for more information.

At the heart of this thesis is a seemingly simple set of questions: What is a reader? What is an author? And what relation do these two figures bear to one another? Taking as my starting point Roland Barthes’s 1968 ‘Death of the Author’ manifesto (and the subsequent amendment Barthes makes to this idea only a few years later), I draw on the work of Jacques Lacan to suggest we might come to think of the reader and author as one and the same figure, albeit at different stages of their psycho-literary development. Distinguishing between reality and the real, Lacan accounts for certain moments of symbolic rupture by introducing a second-order real: a jouissance after the letter. I propose that such moments occur in literary texts when the author manages to shrug off subjectivity and return, if only for the briefest instant, to readerly jouissance. Complementing this study of the real’s continued encroachment on the symbolic is a discussion of the subject’s progression from reader to author—in other words, the subject’s shift from real to symbolic. As I show, the push toward authoriality is promoted in the first instance by the breakdown of a reader-author unity analogous to the child-mother unity seen in Lacan’s writings and seminars, which introduces the necessary dimension of desire. In the final chapter of the thesis, I suggest ways in which this application of Lacan’s theory can be used to support current creative writing pedagogies. Exploring themes of identity, sexuality, masculinity, intertextuality, religion and family, the twelve stories included in the creative suite deal in some way or another with writing itself. Although no explicit link is made between the theoretical and creative components of this thesis by way of an exegesis, there is a noticeable relationship between the ideas espoused in the first section and the self-reflexive development of the stories’ narrators. Relying heavily on irony, pastiche and humour, these twelve stories complement the the

At the heart of this thesis is a seemingly simple set of questions: What is a reader? What is an author? And what relation do these two figures bear to one another? Taking as my starting point Roland Barthes’s 1968 ‘Death of the Author’ manifesto (and the subsequent amendment Barthes makes to this idea only a few years later), I draw on the work of Jacques Lacan to suggest we might come to think of the reader and author as one and the same figure, albeit at different stages of their psycho-literary development. Distinguishing between reality and the real, Lacan accounts for certain moments of symbolic rupture by introducing a second-order real: a jouissance after the letter. I propose that such moments occur in literary texts when the author manages to shrug off subjectivity and return, if only for the briefest instant, to readerly jouissance. Complementing this study of the real’s continued encroachment on the symbolic is a discussion of the subject’s progression from reader to author—in other words, the subject’s shift from real to symbolic. As I show, the push toward authoriality is promoted in the first instance by the breakdown of a reader-author unity analogous to the child-mother unity seen in Lacan’s writings and seminars, which introduces the necessary dimension of desire. In the final chapter of the thesis, I suggest ways in which this application of Lacan’s theory can be used to support current creative writing pedagogies. Exploring themes of identity, sexuality, masculinity, intertextuality, religion and family, the twelve stories included in the creative suite deal in some way or another with writing itself. Although no explicit link is made between the theoretical and creative components of this thesis by way of an exegesis, there is a noticeable relationship between the ideas espoused in the first section and the self-reflexive development of the stories’ narrators. Relying heavily on irony, pastiche and humour, these twelve stories complement the the

Electronic access restricted; authentication may be required, 9780823251209 (cloth : alk. paper), 9780823251216 (pbk. : alk. paper), American Council of Learned Societies History E-Book Project, (heb) heb32061.0001.001, http://hdl.handle.net/2027/heb.32061, Permission must be received for any subsequent distribution in print or electronically. Please contact info@hebook.org for more information.

This thesis analyses theatre for young audiences as an aesthetic artform in and of itself. Focusing specifically on the moment of live performance, it proposes six interpretive lenses as systems of signification that facilitate understandings of how performances created essentially for children offer important multi-layered experiences for their audiences. Reflecting on the dual roles of theatre as both art and communication, the study challenges the polarised notion that such work exists solely as either a teaching tool or light entertainment. The artistic codes proposed as part of this research have been developed over twenty years of personal experience creating theatre for children and may be considered as constituting what could be called a poetics of children’s theatre. The six codes are: 1. Revelry, the code that aims to communicate a raucous sense of euphoric, cathartic energy and unity through audience participation, carnivalesque laughter and fear. 2. Enchantment, the code that communicates a sense of soothing and surrender to a sense of sublime wonder and hope. 3. Instruction, the code that teaches. 4. Identity, the code that aims to connect on a personal level, in which individuals recognise themselves or something of their own lives. . 5. Enlightenment, the code that shows diversity and critical thinking about philosophical and social issues. 6. Alchemy, the code of stimulation that seeks to communicate change; aiming to grow the imagination and inspire a sense of self-belief. Findings show that whilst theatre for young audiences can be both educational and diversionary, it also provides in-depth works that provide complex encounters. Thus theatre for young people is an enriching medium for its audiences of all ages.

Working in the borderlands between art and document, a poetic approach to documentary disrupts commonsense understandings of what documentary can be. However, it is frequently viewed as marginal to the main body of documentary practice for its foregrounding of aesthetic choices around form and materiality. Pushing to the extremes of what is recognisable as documentary, a poetic approach to documentary highlights the rhetorical impact of aesthetic choices within the broader field of practice. Experiential ways of knowing are emphasised so that the work is conceived of as an experience in itself rather than a replication of reality. Moving beyond realist representations of evidence, a poetic approach can make use of techniques of defamiliarisation as a strategy to renew perception and enable a reimagining of preconceived connections. In diverging from established pathways unexpected combinations can occur, allowing complex and changeful conceptions to emerge. Utilising a methodology of practice based research to produce a 28 minute single channel documentary and the close examination of pertinent creative works, this thesis argues that a critically engaged poetic approach to documentary can work to encourage thoughtful contemplation as part of an ongoing conversation in the process of knowing.

Working in the borderlands between art and document, a poetic approach to documentary disrupts commonsense understandings of what documentary can be. However, it is frequently viewed as marginal to the main body of documentary practice for its foregrounding of aesthetic choices around form and materiality. Pushing to the extremes of what is recognisable as documentary, a poetic approach to documentary highlights the rhetorical impact of aesthetic choices within the broader field of practice. Experiential ways of knowing are emphasised so that the work is conceived of as an experience in itself rather than a replication of reality. Moving beyond realist representations of evidence, a poetic approach can make use of techniques of defamiliarisation as a strategy to renew perception and enable a reimagining of preconceived connections. In diverging from established pathways unexpected combinations can occur, allowing complex and changeful conceptions to emerge. Utilising a methodology of practice based research to produce a 28 minute single channel documentary and the close examination of pertinent creative works, this thesis argues that a critically engaged poetic approach to documentary can work to encourage thoughtful contemplation as part of an ongoing conversation in the process of knowing.

This thesis analyses theatre for young audiences as an aesthetic artform in and of itself. Focusing specifically on the moment of live performance, it proposes six interpretive lenses as systems of signification that facilitate understandings of how performances created essentially for children offer important multi-layered experiences for their audiences. Reflecting on the dual roles of theatre as both art and communication, the study challenges the polarised notion that such work exists solely as either a teaching tool or light entertainment. The artistic codes proposed as part of this research have been developed over twenty years of personal experience creating theatre for children and may be considered as constituting what could be called a poetics of children’s theatre. The six codes are: 1. Revelry, the code that aims to communicate a raucous sense of euphoric, cathartic energy and unity through audience participation, carnivalesque laughter and fear. 2. Enchantment, the code that communicates a sense of soothing and surrender to a sense of sublime wonder and hope. 3. Instruction, the code that teaches. 4. Identity, the code that aims to connect on a personal level, in which individuals recognise themselves or something of their own lives. . 5. Enlightenment, the code that shows diversity and critical thinking about philosophical and social issues. 6. Alchemy, the code of stimulation that seeks to communicate change; aiming to grow the imagination and inspire a sense of self-belief. Findings show that whilst theatre for young audiences can be both educational and diversionary, it also provides in-depth works that provide complex encounters. Thus theatre for young people is an enriching medium for its audiences of all ages.

Electronic access restricted; authentication may be required, 9780823251209 (cloth : alk. paper), 9780823251216 (pbk. : alk. paper), American Council of Learned Societies History E-Book Project, (heb) heb32061.0001.001, http://hdl.handle.net/2027/heb.32061, Permission must be received for any subsequent distribution in print or electronically. Please contact info@hebook.org for more information.

Příspěvek poukazuje na používání hliněných konstrukcí a jejich povrchů v několika vybraných typech prostor. V těchto prostorách, zejména co se týká České republiky, se používání hlíny ve větším měřítku prozatím neuplatnilo, avšak článek upozorňuje na důvody, které z hlíny činí materiál do těchto míst vhodný. Zároveň předkládá již realizované příklady a pozastavuje se nad klady a zápory jednotlivých řešení., The paper points out the use of earhen contructions and their surfaces in several particular types of interior spaces. In these types of spaces earth is not commonly used, especially in the Czech Republic, however the paper shows reasons, which make earth suitable material for these spaces. It presents already realized examples too and deals with their positives as well as their problems.