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The Freudian notion of repetition compulsion is marked, in its inaugural conception, by a negative connotation, that of a return of the same, which does not give the measure of the multiple facets of this register. Raising repetition to the rank of one of the four fundamental concepts of psychoanalysis, Lacan uses Kierkegaard's text entitled "La reprise" to point out the renewal, of fecundity that the movement towards repetition can induce. This article aims at underlining how much the creative dimension of repetition finds a particularly vivid illustration in the field of music, a domain that makes regular and varied use of the term "reprise". This article takes up themes deployed in a series of conferences during the academic year 2021/2022 at the École Pratique des Hautes Études en Psychopathologie, associating musicians – Vincent Ségal – psychoanalysts -Marc Morali, Corinne Tyszler, Olivier Douville- and music lovers, Mario Choueiry, and leaving a large place to musical listening. This study, beyond a reading of the repetition as an expression of the death pulsion, studies the way in which we can hear and put to work this Freudian notion through its manifestation in the musical register. It is a question here of exploring the question of repetition in the sphere of popular music but also in jazz and classical music in order to apprehend its articulation with the very movement of creation. In so-called popular music, and mainly in rock music, the cover consists, not in imitating but in proposing a version, more or less faithful or distant, of an original piece. Listening to this cover causes a particular satisfaction in the listener who can identify it. Usually considered as a tribute to the pioneers or the mark of a debt towards the elders, the cover version is however above all an attempt, impregnated with hostility, to erase the origin. This is how covers come to not only supplant the original pieces but also to repress them, to make them totally forgotten. Jazz is also attached to covering standards, not only as a necessary learning exercise, but as a way for those who try to impose their own style and thus gain recognition. The cover of standards can be the occasion to make hear the blind spot of a piece of origin or to make resurface a trait of identity unknown to itself. Within the context of classical music, the progression of a work is also regularly done through the repetition of a theme that always knows how to renew itself through slight displacements. Finally, the contemporary repetitive music pushes, perhaps to its height, this creativity inherent to the effects of the repetition. Pleasure, repression, origin, hostility, imitation and identification: these terms are closely linked to psychoanalysis, which only uses the concept of "repetition". It is however usual to hear oneself on the divan taking up the story of a dream that of a memory, or even to take up a new slice of analysis. This opens up the opportunity to question the creative function of repetition within analytic practice. Introducing the musical dimension of repetition into the analytic treatment leads us to question the specific talent it implies in the practitioner. Repetition only becomes creative through a shift in interpretation that can be found in the poetry of language, where the practitioner gains by approaching musical interpretation. [ABSTRACT FROM AUTHOR]

La notion freudienne de compulsion de répétition est marquée, dans sa conception inaugurale, d'une connotation négative, celle d'un retour du même, qui ne donne pas la mesure des facettes multiples de ce registre. Élevant la répétition au rang d'un des quatre concepts fondamentaux de la psychanalyse, Lacan se soutient du texte de Kierkegaard intitulé « La reprise » pour pointer la dimension de renouvellement, de fécondité que peut induire le mouvement vers la répétition. Cet article s'attache à souligner combien la dimension de créativité de la répétition trouve une illustration particulièrement vive dans le champ musical, domaine qui fait un usage régulier et varié du terme de reprise. Cet écrit reprend des thèmes déployés dans une série de conférences tenues au cours de l'année universitaire 2021/2022 à l'École Pratique des Hautes Études en Psychopathologie, associant musiciens – Vincent Ségal – psychanalystes – Marc Morali, Corinne Tyszler, Olivier Douville – et mélomanes – Mario Choueiry – et laissant une grande place à l'écoute musicale. Cette étude, au-delà d'une lecture de la répétition comme expression de la pulsion de mort, appréhende la façon dont on peut entendre et mettre au travail cette notion freudienne par le biais de son expression dans le registre musical. Il s'agit ici d'explorer la question de la reprise dans la sphère des musiques populaires contemporaines mais également dans le jazz et la musique classique pour en appréhender l'articulation avec le mouvement même de la création. Dans les musiques dites populaires contemporaines et principalement le rock, la reprise – ou « cover » dans sa version anglaise – consiste, non pas à imiter mais à proposer une version, plus ou moins fidèle ou éloignée, d'un morceau original. L'écoute de cette reprise provoque une satisfaction particulière chez l'auditeur qui sait l'identifier. Considérée habituellement comme un hommage rendu aux pionniers ou la marque d'une dette envers les aînés, la reprise est pourtant avant tout tentative, imprégnée d'hostilité, d'effacement de l'origine. C'est ainsi que des reprises en viennent non seulement à supplanter les morceaux originaux mais également à les refouler, à les faire totalement oublier. Le Jazz s'attache également à la reprise de standards, non seulement comme exercice d'apprentissage nécessaire mais comme marque, pour celui qui s'y essaye à imposer son propre style et ainsi se faire reconnaître. La reprise de standards peut ainsi être l'occasion de faire entendre le point aveugle d'un morceau d'origine ou d'en faire resurgir un trait d'identité inconnu de lui-même. Dans le cadre de la musique classique, par des procédés multiples, la progression d'une œuvre se fait aussi régulièrement par le biais de la reprise d'un thème qui toujours sait se renouveler à la faveur de légers déplacements. Enfin, la musique contemporaine répétitive pousse, peut-être à son comble, cette dimension d'une créativité inhérente aux effets de la répétition. Plaisir, refoulement, origine, hostilité, imitation et identification : ces termes attachés à la reprise sont étroitement liés à la psychanalyse qui ne dispose que du concept de « répétition ». Il est pourtant habituel de s'entendre sur le divan reprendre le récit d'un rêve, celui d'un souvenir, ou bien même de reprendre une nouvelle tranche d'analyse. S'ouvre ainsi l'occasion d'interroger la fonction créatrice de la répétition au sein même de la pratique analytique. L'introduction de ce registre de la reprise dans sa dimension musicale au sein de la cure analytique conduit à interroger le talent spécifique qu'elle implique chez le praticien. La répétition ne devient créatrice qu'à la faveur d'un décalage que l'interprétation peut retrouver dans la poésie de la langue où le praticien gagne à se rapprocher de l'interprétation musicale. The Freudian notion of repetition compulsion is marked, in its inaugural conception, by a negative connotation, that of a return of the same, which does not fully reflect the multiple facets of this register. Raising repetition to the rank of one of the four fundamental concepts of psychoanalysis, Lacan uses Kierkegaard's text entitled "Repetition" to point out the renewal of fecundity that the tendency towards repetition can induce. This article demonstrates how the creative dimension of repetition finds a particularly vivid illustration in the field of music, a domain that makes regular and varied use of the term "repetition." This article takes up themes deployed in a series of conferences during the academic year 2021/2022 at the École Pratique des Hautes Études en Psychopathologie, associating musicians – Vincent Ségal – psychoanalysts – Marc Morali, Corinne Tyszler, Olivier Douville – and music lovers, Mario Choueiry, and leaving a large place to musical listening. This study, beyond a reading of the repetition as an expression of the death drive, studies the way in which we can hear and put to work this Freudian notion through its manifestation in the musical register. In this paper, we explore the question of repetition in the sphere of popular music but also in jazz and classical music in order to apprehend its articulation with the very movement of creation. In so-called popular music, and mainly in rock music, the covering a song consists in proposing a version, more or less faithful or distant, of an original piece – and not in imitating it. Listening to this cover causes a particular satisfaction in the listener who can identify it. Usually considered as a tribute to the pioneers or the mark of a debt towards elders, the cover version is however above all an attempt, impregnated with hostility, to erase the origin. This is how covers come to not only supplant the original pieces but also to repress them, to make them totally forgotten. Jazz is also attached to covering standards, not only as a necessary learning exercise, but as a way for artists impose their own style and thus gain recognition. The cover of a standard can be the occasion to make audible a blind spot in the original work, or to bring to the surface a trait of identity unknown to itself. Within the context of classical music, the progression of a work is also regularly done through the repetition of a theme that renews itself through slight displacements. Finally, contemporary repetitive music pushes, perhaps to its height, the creativity inherent to the effects of repetition. Pleasure, repression, origin, hostility, imitation, and identification: these terms that are related to repetition are closely linked to psychoanalysis, which only has at its disposal the concept of "repetition." It is, however, typical to hear oneself on the divan taking up the story of a dream or that of a memory; one can even "repeat" by continuing one's analysis after a break or termination. This opens up the opportunity to question the creative function of repetition within analytic practice. Introducing the musical dimension of repetition into the analytic treatment leads us to question the specific talent it implies in the practitioner. Repetition only becomes creative through a shift in interpretation that can be found in the poetry of language, where the practitioner is enriched by approaching musical interpretation. [ABSTRACT FROM AUTHOR]

We experimentally demonstrate a method for long distance measurement using optical sampling by sweeping the repetition frequency of the frequency comb. The interferograms can be obtained by continuously changing the repetition frequency, and the distances can be determined via the peak position of the interferograms. Compared with the fringe counting interferometer, the experimental results show an agreement within ±3 µm in 75 m range. [ABSTRACT FROM AUTHOR]

Background: Assessment and aftercare for people who self-harm needs to be related to an understanding of risks of adverse outcomes. We aimed to determine whether self-harm by a combination of methods and its early repetition are associated with adverse outcomes - especially non-fatal repetition and suicide.Method: 10,829 consecutive general hospital attendances due to self-harm in one large English city were monitored, through scrutiny of Emergency Department attendances, over three years and followed up to determine the incidence of non-fatal repetition. Subsequent deaths, by any cause and by suicide, were determined from national statistical records.Results: 6155 patients accounted for the 10,829 episodes: 72% by self-poisoning, 21% self-injury, and 746 episodes (7%) due to a combination of methods. After a combined-methods index episode, non-fatal repetition (P=0.001) and suicide (P=0.002) occurred sooner and more frequently than it did among those who had self-poisoned. Further hospital attendance due to self-harm within a month was associated with a 3.7-fold (95% CI 2.1-6.4) risk of subsequent suicide.Limitations: The data exclude self-harm episodes that do not result in a hospital attendance. Index episodes in the study are not generally life-time first episodes so follow-up data are based on an arbitrary start-point. Both of these limitations are common to all studies of this kind.Conclusions: At psychosocial assessment and the making of aftercare arrangements, combined methods of self-harm or another recent episode should be considered 'red-flag' indicators for attention to care. [ABSTRACT FROM AUTHOR]

Background and Objectives: Research on the persistence of compulsions has found that, when making the decision to stop a compulsion, people with OCD weigh sensory and memory information as more important than external criteria. At the same time, research has also found that repetition of behaviour has a deleterious effect on memory, sensory and cognitive confidence. These findings have important treatment implications but they are almost exclusively laboratory based. This study sought to examine compulsions as they occur in vivo using a structured diary format.Methods: 22 People with a principal diagnosis of OCD completed measures of memory, sensory and cognitive confidence and used a structured diary to report on three compulsive episodes a day for three days.Results: Despite repetition, a sense of certainty or the "right" feeling was achieved in over half of the compulsive episodes. The outcome of compulsive episodes was not influenced by distress over the obsession, nor was distress associated with negative beliefs about obsessions. Episodes in which certainly was not achieved were characterized by greater repetitions, greater memory, cognitive and sensory doubt and less certainty that the compulsion had been done properly.Limitations: The sample size was modest, checking compulsions were over-represented and data were based on retrospective self-report, albeit 2-h on average.Conclusions: Consistent with laboratory studies, repetition has insidious effects on the persistence of compulsions. However, compulsions yielded a sense of certainty half the time, despite repetitions. [ABSTRACT FROM AUTHOR]

The legal concepts of emotional and volitional impairment in SVP evaluations are vague and ill-defined. This article reviews the legal terms of emotional and volitional impairment as they have been contemplated in extant SVP statutes, SVP case law, logical constructions, and limited empirical studies. To bridge the gap between psychiatry and the law, a broad, theory-based heuristic framework is furnished for understanding emotional and volitional impairment at a deep psychological (and intra-psychic) level. Specifically discussed are the concepts of transference, repetition compulsion, fixation, cathexis, regression, identification with the aggressor, and the object-relations and self-psychology concepts related to a loss of possession of the self. [ABSTRACT FROM AUTHOR]

The goal of this study was to evaluate movement-based principles for understanding early speech output patterns. Consonant repetition patterns within children's actual productions of word forms were analyzed using spontaneous speech data from 10 typically developing American-English learning children between 12 and 36 months of age. Place of articulation, word level patterns, and developmental trends in CVC and CVCV repeated word forms were evaluated. Labial and coronal place repetitions dominated. Regressive repetition (e.g., [gag] for “dog”) occurred frequently in CVC but not in CVCV word forms. Consonant repetition decreased over time. However, the children produced sound types available reported as being within young children's production system capabilities in consonant repetitions in all time periods. Findings suggest that a movement-based approach can provide a framework for comprehensively characterizing consonant place repetition patterns in early speech development. [ABSTRACT FROM AUTHOR]

Highlights: [•] The results confirm the hypothesis that “why” repetitive thinking (RT) is dysfunctional. [•] The why style probably leads to increase the negative mood. [•] Why RT is supported by a self-evaluative or a more fallacious evaluation of the why functional use. [•] The results revealed a sort of anchoring effect of both “why” style and mood. [Copyright &y& Elsevier]

Highlights: [•] The C58/J inbred mouse strain was supersensitive to locomotor effects of amphetamine. [•] Both C58/J and Grin1 knockdown mice had overt deficits in the marble-burying task. [•] C58/J had reduced exploration and altered olfactory preference in a nose-poke test. [•] Strain genome comparisons identified 97 autism candidate genes divergent in C58/J. [ABSTRACT FROM AUTHOR]

Abstract: The present study aimed to examine the extent to which abnormal behaviours, stereotypic behaviour and fur-chewing, commonly used indicators of reduced welfare, are interrelated and linked to other welfare indicators in mink. Three groups were used based on behavioural observations, mink with no stereotypic behaviour (NST), mink performing stereotypic behaviour with only few repetitions (up to 4; ST1) and mink performing stereotypic behaviour with few (up to 4) and more repetetions (5 and above), in their repertoire ST2. Indicators of welfare included stereotypic behaviour observations, fur-chewing evaluation, baseline cortisol (faecal cortisol metabolites, FCM), and approach/avoidance behaviour in a novel object test and a stick test. There was no significant relation between the performance of stereotypic behaviour and fur-chewing. We found a higher level of FCM in the ST1 group with no tail-chewing behaviour and in tail-chewing mink in general, indicative of stress. However, unexpectedly tail-chewing mink were more explorative towards novel objects. The results supports that stereotypic behaviour and fur-chewing in mink are elicited by different environmental factors, suggested to be related to foraging and under-stimulation respectively. [Copyright &y& Elsevier]

Abstract: A common finding is that there are response-repetition (RR) costs under task switching. Moreover, when the stimulus on the previous trial was congruent then RR costs are usually larger than when it was incongruent. This effect of the previous trial has been explained by assuming that a response category is generally inhibited after the execution of its corresponding response on the previous trial and that the amount of inhibition depends on the activation of the response category. However, up to now it was open which property of the response-category activation on the previous trial is crucial: the absolute activation of the correct response category or the activation difference between the alternative response categories. To differentiate between these two possibilities we compared RR costs after congruent, neutral, and incongruent trials. In two experiments we found similar RR costs after congruent and neutral trials, whereas the RR costs were smaller after incongruent trials. These results support the hypothesis that the amount of response inhibition is determined by the activation differences between the alternative response categories on the previous trial. [Copyright &y& Elsevier]

Abstract: The analysis of clinical case of authors of violence shows that they present sometimes post-traumatic disorders which can lead to interpret acting out behavior as an attempt of elaboration of the trauma and which the release of the act is less ritual than compulsive. This dimension is particularly locatable in the repetitive acts, of which sexual attacks or repeated rapes. Which consequences we can understand about of “dangerous behavior”? In this article, authors study the psychic dynamics of several rapists and sexual aggressors, and notably a case known for the literature (Balier [1988]) who notably introduce compulsive characteristics, and tendency to the repetitiveness. It is more traits than of organization of the personality. The origin of acting out is associated by the subject himself to a rehearsal of one or several previous moments which, in a sense, crystallize in these acts. The trespass appears as taking place in a scenario of reviviscence and could be defused only by analyzing with the subject with kind of secondary profits he obtain from this scenario. But existence of this base which induce to repeat trespass interrogates about concept of “series” applied to these rehearsals. [Copyright &y& Elsevier]

Abstract: Background and Aims: Childhood trauma is a well recognized risk factor for attempting suicide. However, its relationship to the age of onset of first suicide attempt and the repetition of attempts has been little studied. Methods: One thousand five hundred and fifty-three prisoners underwent a psychiatric interview which included the Brown-Goodwin Lifetime History of Aggression (BGHA) interview. The prisoners completed the Childhood Trauma Questionnaire (CTQ) and the Buss-Durkee Hostility Inventory (BDHI). Results: Two hundred prisoners (12.9%) had a history of attempting suicide. Subjects who had attempted suicide had significantly higher CTQ scores than subjects who had never attempted. Childhood traumas were also significantly associated with the early onset of suicidal behavior, while repeated attempts were predicted by sexual abuse only. Early suicidal behavior was further associated with young age, psychiatric disease, aggressive traits and violent behavior. Early age at onset of suicidal behavior was also associated with repetition of suicide attempts. Repetition of suicide attempt was further associated with other self-injurious behaviors (self-harm). Conclusions: These results confirm that a history of attempting suicide is frequent among prisoners. Childhood trauma is a risk factor not only for suicidal behavior but also for its early onset as is having a psychiatric disorder and aggressive traits. Sexual abuse may increase the risk for multiple attempts, which strongly correlated with age at onset and other self-harm behaviors. [Copyright &y& Elsevier]

Abstract: The therapeutic potential of reducing the risk of suicidal attempt repetitions has been widely studied in recent years, contributing to promote new techniques to reduce this risk. Yet still the question of indications and practical modalities of these techniques, as the subjects committing a suicide attempt are a heterogeneous population when considering their risk factors, diagnosis, and comorbidities. This work will aim to review randomized controlled trials, which have evaluated treatments for suicide attempt among suicidal patients, in that first part, and the sub-population at higher risk of patients with borderline personality disorder, in a second part. Several trials support the effectiveness of some interventions, ranging from simple (postcards, Green cards) to more structured ones. One of the main limitations seems to be the diversity of the population of suicidal patients. This review highlights the need to improve psychiatric assessment at the Emergency Department, targeting risk factors, and to develop specific care according to risk of repetition. [Copyright &y& Elsevier]

Abstract: Enhanced perceptual processing of emotional stimuli may be accomplished via amygdala-back-projections into the inferior temporal cortex. In the current study, we investigated the influence of stimulus novelty on the covariation between these brain regions during emotional picture processing. Participants viewed repeatedly presented and novel emotional and neutral pictures during fMRI-scanning. The amygdala showed stronger activation to emotional arousing stimuli that decreased rapidly when the same pictures were presented repeatedly. Emotional modulation of the amygdala was reinstated when novel emotional and neutral pictures were presented. Inferior temporal cortex (ITC) showed increased activation during processing of emotional stimuli irrespective of picture repetition. ITC and amygdala activity were highly correlated only during processing of novel emotional pictures. Therefore, we concluded that enhanced perceptual processing of emotional stimuli is triggered by an initial significance detection and corresponding feedback information by the amygdala but is maintained by other mechanisms. [Copyright &y& Elsevier]

Abstract: Background: Self-harm is a common reason for presentation to the Emergency Department. An important question is whether psychosocial assessment reduces risk of repeated self-harm. Repetition has been investigated with survival analysis using various models, though many are not appropriate for recurrent events. Methods: Survival analysis was used to investigate associations between psychosocial assessment following an episode of self-harm and subsequent repetition, including (i) one repeat, and (ii) recurrent repetition (≤5 repeats) using (a) an independent episodes model, and (b) a stratified episodes model based on a conditional risk set. Data were from the Multicentre Study on Self-harm in England, 2000 to 2007. Results: Psychosocial assessment following an index episode of self-harm was associated with a 51% (95% CI 42%–58%) decreased risk of a repeat episode in persons with no psychiatric treatment history, and 26% (95% CI 8%–34%) decreased risk in those with a treatment history. For recurrent repetition, assessment was associated with a 57% (95% CI 51%–63%) decreased risk of repetition assuming independent episodes, and 13% (95% CI 1%–24%) decreased risk accounting for ordering and correlation of episodes by the same person (stratified episodes model). All models controlled for age, gender, method, history of self-harm, and centre differences. Limitations: Some missing data on psychiatric treatment for non-assessed patients. Conclusions: Psychosocial assessment appeared to be beneficial in reducing the risk of repetition, especially in the short-term. Findings for recurrent repetition were highly dependent on model assumptions. Analyses should fully account for ordering and correlation of episodes by the same person. [Copyright &y& Elsevier]

In this article, the author describes his investigation of self-soothing procedures, which he sees as an anti-traumatic defence system that is both fragile and non-neurotic (I mean non neuro-psychotic). Repetitive behaviour involving motor functions and/or sensory perceptions that aim to control levels of excitation, which cannot be bound by more psychical means belongs to this category. Since the methods employed are not suitable for the kind of discharge that leads to satisfaction, they simply bring about a return to a state of calm. According to the author, there is a considerable number of these “volunteer galley slaves” who try to soothe themselves by repeating a particular kind of excitation, by automatically performing actions involving the body as a substitute for thought or by driving themselves to exhaustion. These procedures, which are not age-specific, may take on various aspects such as self-soothing functional disorders in infants (e.g. rumination/regurgitation or rocking behaviour) or the self-soothing use of dangerous activities in adolescents or those who practise high-risk sports. The stereotyped behaviour typical of autistic spectrum disorder is also discussed in this perspective. [Copyright &y& Elsevier]