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2020 ushered in the convergence of multiple societal, political, environmental, and health crises. Racial reckoning collided with fearmongering on a national scale and punitive policies targeted non-citizens simultaneous to the global health pandemic COVID-19. COVID-19 required the unexpected pivoting from in-person instruction to what was, for most, an uncharted total reliance on virtual and remote delivery (Lederman 2020). The complexities of crafting content across multiple modalities amid national and global turmoil meant that curricular creativity became paramount (Mishra et. al, 2020). I will begin by discussing why comic books were an ideal medium and how I used them in the midst of curricular and sociopolitical upheaval. Next, I will describe lessons inspired by the issue of the comic book El peso hero, titled The Essentials, that were effective to broach politicized topics in class, such as the essentiality of migrant labor, immigration categories, contradictions between labels and policies, and racialized political rhetoric. Finally, to demonstrate how pictorial storytelling lent itself to internalize and eventually narrate what Landis et al. (2008) refer to as “difficult dialogues,” I will highlight examples of multi- and single-panel visuals created by students.

In 1990, Thomas Elsaesser wrote that Brechtian aesthetics are toothless in a hyperreal image culture. Thirty years on, this essay reworks the notion of distanciation by asking: what if we cannot decide whether the unnatural behavior of characters on screen is the product of Brechtian alienation or of the character’s own perversion, but rather is caused by both (and therefore neither)? To chart the transition between orthodox and “perverse” Brechtianisms, this essay compares a film by a director whose melodramas are often read as examples of Brechtian cinema, Douglas Sirk’s All That Heaven Allows (1955), and a film by a contemporary director whose work is often misread as the very thing it satirizes, Paul Verhoeven’s Elle (2016). This essay argues that, in the absence of a world “out there” to represent, the techniques of Brecht become perverse, a Sadean laboratory for the rehearsal of illicit forms of pleasure.

After the publication of his pioneering book Sexual Excitement in 1979, Robert Stoller devoted the last 12 years of his life to the study of the pornographic film industry. To do so, he conducted an ethnographic study of people working in the industry in order to find out how it produced ‘perverse fantasies’ that successfully communicated sexual excitement to other people. In the course of his investigation he observed and interviewed those involved in the making of pornographic films. He hypothesized that the ‘scenarios’ developed and performed by people in the porn industry were based on their own perverse fantasies and their frustrations, injuries and conflicts over sexuality and gender; and that the porn industry had developed a systematic method and accumulated a sophisticated body of knowledge about the production of sexual excitement. This paper explores Stoller's theses and shows how they fared in his investigation.

Historically, the topic of Russian information occupation in the post-Soviet space is not well understood. The research conducted by the author suggests that the Russian Federation actively used information and propaganda levers of influence on the population of the peninsula, which became vulnerable to Russian propaganda due to the high level of confidence of information received from Russian radio and television channels, a wide broadcast of Russian content on Ukrainian channels, a small amount of Ukrainian content, alternative sources of information. Emphasizes the key role of the information component of the hybrid threat. The nature of the destructive influence of the information policy of the Russian Federation on the population of the peninsula is considered. During the latent phase of preparation for annexation, there was a powerful propaganda influence not only on the inhabitants of Crimea, but also on the citizens of the Russian Federation, and the long-lasting and large-scale measures of informational and psychological character preceded the direct invasion. The directions of formation of public opinion on the legitimacy of the incorporation of the ARC by the Russian Federation and the facts of the perversion of events and manipulation of the minds of Crimeans at the beginning of 2014 are analyzed.

The latent iron deficit is always preceded to iron-deficient anaemia. A research aim was to study occurrence rate of clinical signs of latent iron deficit in adolescents. 280 individuals aged from 17 to 21 were involved into study. A questionnaire method with a series of questions was used to identify signs of sideropenic and anaemic syndromes, as well as questions to identify the causes of iron deficiency. Statistical processing was carried out by applying the Microsoft office Excel 2013. Among the clinical signs of syderopenic syndrome in the students we observed the predominance of olfactory perversion (33,21%), muscular weakness, pain gastrocnemius muscles (29,64%), taste perversion (16,79%), changes in the state of hair and nails (46,79%). This was mainly typical for female individuals. 33,75% of women had polymenorea, and 37,2% out of the were diagnosed to have a syderopenic syndrome. The individuals complaining on gastrointestinal problems (two or more) demonstrated a sharp increase in the frequency syderopenic syndrome occurance (by 26,8%) as compared to the respondents without the complaints.

"Why are we so fascinated by beauty?" is a question many of us have asked ourselves, as have many who came before us. This book investigates the moment of ecstatic solitude in which everyone can experience emotions through films, works of art or natural phenomenon, when, even if for a "magic" instant, we feel "alive" and masters of our own Self. Expanding from the author’s personal experience, this book is a series of applied psychoanalytic essays on film, literature, and aesthetic pleasure. It explores the complexity of loss and mourning, destructivity, perversion, and revenge, as well as an exploration of what can facilitate transformation and how to lead a blocked healing process back to motion. This fascinating and insightful book will be of interest to psychoanalysts, psychologists, teachers and students, and all those with an interest in psychoanalysis and the arts.

Resumen En el presente artículo se aborda los inicios del espectáculo cinematográfico en el departamento del Valle del Cauca (Colombia) desde su fundación en 1910 hasta 1930. Su objetivo principal es mostrar y analizar las discusiones que se presentaron entre algunos sectores de las elites de Buga y Cali tras la llegada del cine. Para lograrlo, se hace un análisis de diferentes fuentes primarias, en especial la prensa del momento, así como fuentes bibliográficas nacionales e internacionales referidas al tema y al contexto. Entre los hallazgos, se evidencian, por un lado, las posturas de quienes consideraron peligroso el nuevo invento por su carácter de perversión de las costumbres y, por otro lado, la defensa del espectáculo al considerarlo educador, civilizador y modernizante. Abstract This article addresses the beginnings of the cinematographic show in the Valle del Cauca department (Colombia) from its foundation in 1910 to 1930. Its main objective is to show and analyze the discussions that arose among some sectors of the elites of Buga and Cali after the arrival of the cinema. To achieve this, an analysis is made of different primary sources, especially the press of the moment, as well as national and international bibliographic sources referring to the topic and context. Among the findings, it is evident, on the one hand, the positions of those who considered the new invention dangerous due to its perversion of customs and, on the other hand, the defense of the spectacle when considering it educator, civilizer and modernizer. Resumo No presente artigo abordam-se os inícios do espetáculo cinematográfico no departamento Valle del Cauca (Colômbia) desde sua fundação em 1910 até 1930. Seu objetivo principal é mostrar e analizar as discussões que se apresentaram entre alguns setores das elites de Buga e Cali após a chegada do cinema. Para consegui-lo, foi feita uma análise de diferentes fontes primarias, em especial a imprensa do momento, assim como fontes bibliográficas nacionais e internacionais referidas ao tema e ao contexto. Entre as descobertas, evidenciam-se, por um lado, as posturas dos que consideraram perigoso a nova invenção por seu carácter de perversão dos costumes e, por outro lado, a defesa do espetáculo ao considerá-lo educador, civilizador e modernizante.

The definition of pudendum is external genitalia. The term pudendum is used to describe external genitalia regardless of sex. The labia majora, labia minora, clitoris, penis, scrotum, testes, and so on are all parts of the human pudenda. The female pudendum is also called the vulva. Also, nonhuman species have pudenda. Pudendum is a term that has been part of the formal anatomical nomenclature for a millennium. Recently, the meaning of pudendum has been perverted and misinterpreted as synonymous with only the vulva and to come from an etymological root term with the narrowly defined meaning "to be ashamed." The misunderstanding of pudendum is twofold. First, pudendum describes the external genitalia indiscriminate of sex; however, terms such as pudendum muliebre/pudendum femininum and pudendum virile/pudendum masculinum have been used throughout history to identify pudenda with respect to sex. Second, the meaning of the root term pudere has been taken out of context. The meaning of the root term is inclusive of respect, modesty, honesty, honor, virtue, awe, veneration, and so on and has a positive connotation rather than a negative connotation, akin to sacrum, for example. Indeed, pudendum shares its etymological root with the names of goddesses and saints (e.g., Pudicitia, Saint Pudens, Saint Pudentiana). This manuscript provides details regarding anatomical etymology and both the historical and modern use of anatomical terminology related to pudendum. Furthermore, this manuscript remedies the perversion of pudendum and, in doing so, improves the anatomical lexicon.

In the Zhuangzi, inherent and spontaneous wisdom, the “real” wisdom associated with unity with the Dao, is promoted in opposition to wisdom consciously applied, the recorded “wisdom of the sages.” Guo Xiang expands on this dichotomy by distinguishing between the original spontaneous acts of the sages and the “footprints” or “impressions” so made: the conventional worldly view mistakes such “footprints” as reliable recordings of formulas for behavior—especially rulership—but this, Guo Xiang tells us, is all wrong and inevitably leads to the perversion of human nature and the corruption of government, for such “wisdom” is in violation of the Dao. This spontaneous-formulaic distinction lies at the heart of both the Zhuangzi and Guo’s commentary, and Guo’s promotion of the sage-ruler in Daoist terms was designed to serve as a catalyst for the regeneration of self and society and the foundation of a worldly utopia. Readily apparent throughout his commentary to the Zhuangzi, this view is especially prominent in Guo Xiang’s Essentials of the Analects, which now exists only in fragments, all of which comment on passages in Analects, part 2: Conduct Government. This chapter translates and analyses all these passages as further evidence of Guo’s reading the Zhuangzi as he does the Confucian Analects—as a political treatise.

espanolRoddy Doyle es un escritor que ha reflejado como la existencia humana es una combinacion de comedia y tragedia , y que, por tanto, todos los grandes males— fanatismo, absolutismo, dogmatismo — son el resultado de atender solo a la dimension tragica. Esto se hace patente en The Dead Republic (2010), una novela en la que la actitud comica ante la vida de Henry Smart permite a Doyle ofrece r al lector una vision objetiva en absoluto sentimental de la hist oria irlandesa contemporanea. Tanto John Ford como el IRA intentan adaptar la historia de Henry como heroe republicano a su nocion de lo que es lo irlandes y precisamente en su respuesta a esta perversion de la historia, de la politica y de la identidad na cional irlandesa, Henry se nos revela como el perfecto heroe comico que subvierte todo esfuerzo de mistificar la realidad. EnglishRoddy Doyle is a writer who has reflected that human existence is an interplay between comedy and tragedy , and that therefore all kinds of evils— fanaticism, absolutism, do gmatism — result from cultivating only the tragic perspective. This becomes obvious in The Dead Republic (2010), a novel in which Henry Smart’s comic attitude to life allows Doyle to offer the reader a detached and non- sentimental view of contemporary Irish history. Both John Ford and the IRA want to reshape Henry’s story as a Republican hero to fit their own notion of Irishness and it is precisely in Henry’s response to this perversion of Irish history, politics and national identity that he reveals himself as the perfect comic hero and debunks all efforts to mystify the p

Cross-dressing is the wearing of clothes traditionally worn by members of the other sex. It is a practice documented for centuries, and one often linked stereotypically with perversion, fetishism, ...

Studying patients with spinal cord lesions, the author found that if you make such a patient with positive Babinski's take a position on his stomach with his leg bent at right angles in the knee joint, instead of extending the thumb there is flexion or no motor effect.

If satire is epic's ‘evil twin’, then tragedy is satire's ugly sister. Both epic and tragedy soar aloft in the stratosphere of the generic hierarchy, viewed humbly and from a distance by satire's pedestrian muse, who at the same time scoffs at their overblown irrelevance. Many of the same criticisms, often framed as back-handed compliments, are cast at both genres by their poor relation, but there are also distinctions. Epic, even if cloistered in an ivory tower, is constructed as sharing the impossible purity of that ivory, the better for its lofty and noble themes to be befouled, debased and perverted in the distorting mirror held up by its evil twin. Tragedy, however, is itself a perversion, ethically and aesthetically, a mishmash of vice and excess which is a natural target for satire, the self-appointed social policeman, but which also bears an uncomfortable resemblance to satire's own nature. Much work has been done in recent years on satire's engagement with and tendentious construction of tragedy, but very little on tragedy's reciprocal engagement with satire. The latter will be the focus of this article, approached from two, closely-related angles.

Critics of Andre Gide's La Symphonie pastorale (1919) have grappled with the pastor's ostensibly benevolent but immoral conduct. More than his ambiguous conduct, what makes this short novel interesting is how it is mediated in the narrative. Questioning the pastor's belated prise de conscience, Bree writes that "Un etre humain ne peut pousser l'inconscience au dela d'un certain point, et l'intention de l'auteur [...] amincit le personnage et pousse le recit vers l'invraisemblance" (249-50). Other critics have examined the Pastor's unreliability as narrator. According to Babcock, the novel is a self-conscious fiction, and the Pastor "a creator of fictions" (65). Further, the Pastor "[is] not [...] completely accurate about his comprehension of events: he understands more than he says as he writes the first book" (68). On the other hand, based on the complex chronology of the narrative, Booker draws a fine distinction between the Pastor's conscious and subconscious awareness of the events he describes (164). While these studies focus largely on the Pastor, in this essay, I propose to examine the notion of hospitality, an important aspect that involves all the main characters, but has eluded critical attention. After preliminary observations on the Pastor's portrayal of himself as compassionate as opposed to others, particularly his wife, Amelie, I will discuss the dialectic of light and darkness, and sight and blindness, the centerpiece of the relationship between the host and the guest in the novel. The essay will show that the Pastor's exclusive control of vision and the power associated with it result in the perversion of hospitality. In the concluding section, I discuss the diary as a medium of self-hosting that leads to the Pastor's self-awareness. From the adoption and education of a blind girl by the Pastor to her seduction and death, the notion of hospitality and its perversion pervade La Sym phonie. (1) The Pastor's hospitality goes awry as compassion turns into passion. Hospitality, which necessarily involves an intersubjective relationship, is founded on equality and reciprocity between the host and the guest as the word hote, used for both, suggests. In La Symphonie, the pastor comes across as compassionate toward and respectful of Gertrude when he portrays others, Amelie in particular, as insensitive toward her. When Gertrude's neighbor suggests that she be placed in a hospice, the Pastor says he is shocked, "soucieux du chagrin que ces brutales paroles pourrait lui causer [a Gertrude]" (15). When Amelie objects to his decision to bring Gertrude home unmindful of the family's circumstances (they have five children including an infant), he justifies his action alluding to the parable of the Lost Sheep (22, 40-41), which, in essence, is about giving hospitality to the one who is estranged, the Other. Likewise, when Amelie is critical of the Pastor taking Gertrude to the concert in Neuchatel, and for not doing as much for his children as for Gertrude, he cites the parable of the Prodigal Son to defend himself: "l'on fete l'enfant qui revient, mais non point ceux qui sont demeures" (61). (2) Throughout the narrative, the Pastor's rhetorical strategy is to show that, whereas Amelie's arguments are mundane, he "obeit a une ethique superieure" (Goulet 47-48). Goulet writes that the Pastor, recognizing Amelie as his strongest opponent, "tente de se debarrasser du point de vue d'Amelie en s'affirmant serviteur de Dieu" (46). He thus portrays Amelie as inhospitable and himself as empathetic toward Gertrude. In La Symphonie, respecting the guest's identity and selfhood acquires greater importance because of her blindness. In Totalite et infini, Levinas writes that hospitality begins with welcoming the Other, and the Other's face is the primary locus of the act of welcoming (334). For Levinas, "Le visage parle. La manifestaion du visage est deja discours" (61). The word visage is derived from the Latin visus which means "action de voir, sens de vue, vue, vision" (Baumgartner and Menard 833). …

Critics have read Rachilde’s novel of bestiality, 1893’s L’Animale , as one of her least perverse works. This judgment mirrored the declining fortunes of bestiality itself, which remained a capital crime into the seventeenth century but was not even seen as a true perversion by fin-de-siecle sexologists. I read the transgressive violence of interspecies entanglement back into the novel, viewing it as a fatal satire on the force of nature that criminologists, literary critics, and natural scientists vainly sought to order and control. Contemporary critical receptions of Rachilde diminished her authorial agency by using biological models that relied on hopelessly shifting analogies between man, woman, and beast. The novel’s narrative of bestial desire between girl and cat plays on this unstable analogical structure to restore a capacity for language, desire, and creative transgression to both the heroine and her stray lover, whose violent entanglement avoids capture by the masculine discourse that seeks to put it in a proper place—an allegory for the power of evolutionary complexity to escape the systematizing impulse of post-Darwinian natural science.

This article concerns the short genealogical history of speech and writing media, which simultaneously takes an advantage of, develops as well as reconstructs, the appropriate points of view and attitudes by Peter Sloterdijk. The object of analysis is a discursive formation on speech and writing shaped in western culture, a formation consisting of arguments and imaginations contained in the Bible, philosophical writings, by Plato and Hegel mainly, and literature, indicated here only very slightly. Social history is eventually discused here, that is the view of revolutions and colonialism through the prism of print/writing medium — through the relationships of power and domination based on this medium. All the discursive and social events have their common resentment background according to Sloterdijk — following Nietzsche he assumes that there are cruelty and perversion that lurk at the roots of culture. The question is: why does he do that, what new does the historically worn-out interpretational frame let him tell about the media in the past and today?

Las políticas e instrumentos normativos que se aplican en el control fronterizo y en la gestión de flujos migratorios en la Frontera Sur no se corresponden a la realidad material de estos fenómenos. Dicha disfunción conlleva que no se dé respuesta a los objetivos declarados de los mismos (evitar el tráfico de personas, fomentar la migración regular y ordenada, lucha contra el terrorismo internacional…) y que se produzcan graves violaciones de Derechos Humanos sobre las personas migrantes como “daño colateral”. En este artículo analizamos las principales contradicciones político–jurídicas asociadas al proceso de externalización de fronteras auspiciado por la UE y España, la perversión que representa condicionar la cooperación al desarrollo al control de los flujos migratorios o el cuestionamiento del Estado de Derecho vinculado a las “devoluciones en caliente” y a otras prácticas similares llevadas a cabo en las fronteras españolas y europeas.

Psychoanalysts were once thought to be experts on sexual issues, but that is less true today. The rift between psychoanalysis and scientific sexology that occurred in the mid-20th century may be partly responsible. In this article, I suggest ways this situation can be remedied. Psychoanalysts can best become more literate about variant forms of sexuality by reading first-person accounts and by garnering information from empirical research and Internet sites for specific forms of sexuality. In addition, psychoanalysts need to examine their own attitudes to different forms of sexuality, make sure they learn a patient's goals in treatment, be honest and open about whether they can help achieve those goals, and pay attention to the difference between psychopathology and societal pathology. In addition, the analyst needs to be aware of how sexual excitement can unconsciously bind erotic experience with other complex emotions and motivations. A case of coercive voyeurism is presented to illustrate these...

This paper will use the concept of time-image discussed by Gille Deleuze in Cinema 1 and Cinema 2 as a heuristic tool for thinking about the Internet films of the Islamic State (ISIS). By considering that ISIS films primarily operate on two different axes: a time-image that presents a recollection of a mythic past, and a movement-image that reverses roles of power and sovereignty with a Western antagonist through mimesis, I discover that although we are unable to consider the ISIS films strictly as documentary, they are nonetheless not representational either. Within this context, I will argue that ISIS films may be experienced as actualizations of a global schizophrenic delirium. The ISIS films demonstrate what Deleuze describes as the “powers of the false.” They show a reality that is unbearable to witness. In the same way that the Marquis de Sade exhibited in life and fiction a physical violence and perversion that were symptomatic of the chaotic and brutal realities of the French Revolution, ISIS itse...

Recently it was suggested that my creative method (bowerbirding, bricolage, engaged observation) might properly be described as ‘perving’. Affronted, I rejected this accusation. But the idea wouldn’t go away, a question remained. How does observation that informs a story differ from perving or voyeurism? Creative writers lurk everywhere, observing and eavesdropping for quirks and foibles to bring life to their stories. I review my creative methodology against the current discourse about the eclectic methods of enquiry through which writers interrogate the world, including thievery, plagiarism, borrowing, voyeurism, perving, to assess the validity of this charge of perversion.

This paper on the role of shock in poetic innovation should acknowledge at the outset one conspicuous kind of shock that will be of only incidental concern. Ladies and gentlemen, your attention, please, to the following two exhibits. Prepare to avert your imagination as needed. That moment she was mine, mine, fair, Perfectly pure and good: I found A thing to do, and all her hair In one long yellow string I wound Three times her little throat around And strangled her. (1) Bad enough already, but now hear this: When I hit her on the head, it was good, and then I did it to her a couple of times,-- but it was funny,--afterwards, it was as if somebody else did it ... Everything flat, without sharpness, richness, or line. Still, I liked to drive past the woods where she lay, tell the old lady and the kids I had to take a piss, hop out and do it to her ... The whole buggy of them waiting for me made me feel good; but still, just like I knew all along, she didn't move. When the body got too discomposed, I'd just jack off, letting it fall on her ... --It sounds crazy, but I tell you sometimes it was beautiful--; I don't know how to say it, but for a minute, everything was possible--; and then, then,-- well, like I said, she didn't move: and I saw, under me, a little girl was just lying there in the mud. (2) The first passage, a familiar Victorian anthology piece, is the reader-scandalizing flashpoint from Robert Browning's 1836 "Porphyria's Lover." The second passage has had a narrower circulation and for obvious reasons will not make it, I confidently predict, into standard teaching anthologies. But those who know the poetry of Frank Bidart will hail it as the opening of "Herbert White," which is the leadoff poem from the collection Golden State (1973) and the first in a sequence of dramatic monologues as impressive as any living poet can boast, including rivals on the order of Richard Howard, Carol Ann Duffy, and that fearless songwriter Randy Newman. Each poem is its author's, so to speak, maiden monologue; and the slight offense given by my speaking so of it will, I hope, underscore the strong double shock--physical in the first instance, ethical not long afterwards--that each poem retains the power of imparting. Each is repulsively violent in its narrative subject matter; each at the same time weaves into the pathology of murderous perversion a gilt filament of innocent, morally rapt wonder at existence's immense permissiveness, the unbearable lightness of being: "And yet God has not said a word!" (60), marvels Porphyria's lover at the end of his monologue. By that point the affronted reader, his or her moral compass duly recalibrated, can afford to wonder whether the expectant suspense that concludes the poem is in anticipation of God's approval or condemnation. Maybe both, if Herbert White's whiplash is anything to go by: "it was beautiful," "everything was possible," and yet "a little girl was just lying there in the mud."? Forging the genre to white heat at an extreme of that eccentric perspectivism which Robert Langbaum showed sixty years ago was essential to the modern dramatic monologue, both Browning and Bidart make their mark under cover of deviancy carried away into horrid excess. (3) One is shocked by this stuff, shocked. Still, as I forewarned, the species of shock that these imaginative commitments convey will not be my theme. I am more interested in the conveyance itself, because I maintain the poets are too. They are, and always have been, most interested in the formal vehiculation by which a poetic effect not only seizes readers at first blush, or ambush, but then comes home to them for keeps. "Form," Langbaum has observed, "is a better index of a tradition than subject matter"; the latter is "an index of what people think they believe, whereas form is an index of what is believed too implicitly to be discussed"--and what for that very reason, moreover, retains a stubbornly insinuated power to shock (Poetry of Expedience 36). …

On the basis that psychotherapists are experts at reflective practice, this article explores the notion of reflection as both an individual and a systemic issue, and argues that in our present age of austerity there is an increasing tension between the two. The article begins by describing pertinent aspects of today's UK National Health Service and some of the reflective practice projects in which the author has been involved with groups of health professionals in this context. The article focuses on the anxiety that drives the organisations within which we practice health and social care, and suggests that we might help contain this anxiety, not just by working with groups of anxious staff, but by helping society better understand and articulate the problem. Copyright © 2016 John Wiley & Sons, Ltd.

CUBAN writer, Severo Sarduy, author of numerous essays, novels, books of poetry, and radio plays, remains even among Latinamericanists a relatively marginal writer; and this, I believe, is due to the inherent difficulty of his neobaroque, post-modern, fragmentary style. And yet there is an order to everything he wrote, and an aesthetic and theoretical project that becomes evident when one puts all the pieces of the puzzle together. For instance much of what Sarduy wrote about art and culture can be found in an understandable--albeit cryptic manner--in his 1974 book, Barroco. And what prima facie seems to be a nonsensical stew of disparate ideas, for Sarduy the ideas and concepts he explored were all in some ways logically connected to each other--even if transversally. For instance, that Sarduy would consider Rothko, Kline, and Larry Bell, as a continuation of the Baroque--art styles that seemed so removed in their "abstraction" and minimalism from the classical Baroque-only makes sense when one considers that it was precisely this group of artists who rediscovered Mannerism in the 1950s. For as Arnold Hauser argued in Mannerism: The Crisis and the Origin of Modern Art, modern artists, like their predecessors, were also concerned with the materiality of art. And it was precisely this general aesthetic that they shared with the Mannerists. If Sarduy dared to put Larry Bell and Robert Morris in the same line as Velazquez and Cervantes it is only because they all shared the belief that, as Sarduy was to put it "the work was in the work," and nowhere else. And further, if Sarduy could see a relation between Kepler's theory of elliptical movement and Borromini's architectural designs, and between the Borrominian ellipse and the hidden code of the anamorphic image, it is only because for Sarduy the structuralist theorist, language, no less than the pictorial image, called not so much for a reading, as a deciphering. Hence, in the pages that follow I will briefly examine how Sarduy puts seemingly unrelated ideas together to give us an anamorphic picture of painterly and writerly language, be it scientific or poetic. And thus begin with his treatment of Galileo. As is well known to the history of science, for the Aristotelian Galileo the natural orbits of celestial bodies had to be downward and centripetal. No other kind of motion would do. And interestingly this Aristotelian metaphysical position also influenced his lesser known theory of aesthetics--something to which Sarduy alludes, and Erwin Panofsky notes in his article, "Galileo as a Critic of the Arts." According to Panofsky, Galileo seems to have rejected Kepler's theory of elliptical orbits, primarily because it was incompatible with the very principles which dominated his thought as well as his imagination ... Where we would consider the circle as a special case of the ellipse, Galileo would not but feel that the ellipse is a distorted circle: a form which was, so to speak, unworthy of celestial bodies ... and, which, we may add, was as emphatically rejected by the High Renaissance as it was cherished in Mannerism. (10, 11-12, my emphasis) (1) For Galileo the figure of centrism and circularity represented a moral imperative, founded on the notion of "the natural." The Italian scientist, says Sarduy, confused the notion of the "natural" with that of the "rational" (OCII/Barroco 1216). Sarduy writes: "[E]l barroco sera extravagancia y artificio, perversion de un orden natural y equilibrado: moral" (OC-II/'Barroco 1216). In other words, whatever was un-natural (e.g., the elongated figures of Parmigianino, the figural distortions of Giuseppe Arcimboldo (c. 1527-1593), the anamorphic, off-centered image of Hans Holbein's The Ambassadors, etc.) all constituted a species of perversion for Galileo. And of Galileo's rejection of anamorphic painting vis-a-vis his more specific denunciation of the Mannerist overturning of linear perspective, Sarduy argues: El imperio de lo natural obliga a Galileo a proclamarse agente del terror, como se ha llamado a esa tradicion, moral, denotativa, que asimila las figuras retoricas a una perversion de la naturalidad del relato . …

L’objectif principal de cet article est de montrer, à partir d’illustrations tirées des romans African Psycho, Verre Cassé, Mémoires de porc-épicet Black Bazard’Alain Mabanckou, que l’oralité influe profondément sur l’orthographe. Cet auteur transcrit les sons dans le tissu textuel de ses romans. À l’ère de nouvelles technologies de l’information et de la communication, mieux de l’internet, rendu performant par la structuration de la fibre optique, l’envoi des messages (sms) téléphoniques consacre un culte à la perversion orthographique dans les structures phrastiques. Cette tendance à travestir l’orthographe, de plus en plus répandue chez les auteurs francophones, présage une variété de langue française affranchie des normes rigoureuses qui, jusqu’ici, l’ont régie, comme le signale Charles Bally (1932; p. 25 ) : « Il y a une pathologie linguistique qui est une exagération du fonctionnement normal » du français. Le français moderne est-il vu comme une langue peu rigoureuse, moins surveillée donc licencieuse?

In modern society the special role belongs to information and knowledge. Today class of new kinds of threats and dangers is accurately designated and it is connected to application of new technological means which have variety of its demonstration: perversion of information, falsification of reality by virtual world, manipulation of people’s consciousness, change goals and way of living by imposed standards. All listed processes and many others first of all are stipulated by social aspects of informational interaction. Understanding of aggregate of informational processes concerning provision of their safety take a huge place for society. Qualitatively new approach, considering informational security not only in applied aspects but also as internal condition of the whole system, is a perspective direction in studying of problems of such area, providing effective functioning and successful development for both informational sphere and society as a whole. For today existing system of Ukraine’s security must organize security of basic rights and liberties, guaranteed equal participation of all subjects of informational interaction in system of global security.

Self-reliance, however defined, has admirers and critics, but both recognize that it was prevalent in the United States throughout the nineteenth century and somewhat beyond the middle of the twentieth century. During this period, innovations and industrial growth markedly elevated the standard of living for millions while enabling the United States to grow rapidly—in area, in population, and intellectually. The overwhelmingly urbanized second half of the twentieth century, however, saw a perversion of the idea of self-reliance. In progressive parlance, self-reliance became selfish individualism. Here is the attitude of John Dewey, the highly influential early twentieth-century education philosopher and reformer, toward self-reliance

China Mieville’s Embassytown explores the nature of language through the warped mirror of an alien Language (capitalized). Human language and Ariekei’s Language share a number of properties but the latter does not allow its speakers to express anything contrary to fact. Nor does it allow for “real” thinking, which only emerges when the Ariekei transform from Language-speakers to language-speakers. Being an asemantic, asymbolic, non-signifying, and non-metaphorical system of communication, Language is claimed here to be an example of “anti-language” (in a redefined sense), a perversion of the very essence of natural human language. In an analogous, redefined non-evaluative sense, the Ariekei are “anti-humans,” a species lacking the very nature of humanness: free thought.

Blackwood's in its earliest numbers was a staunch admirer of Lord Byron. But when he published Beppo, it damned him in a June 1818 review as a hypocrite and a reveller, and thereafter the magazine lurched between celebrating him for his genius and castigating him for his perversion of it. Byron objected to the uneven treatment he received at the hands of the Blackwood's critics, but in ‘Some Observations Upon an Article in Blackwood's Edinburgh Magazine’ he echoes their views on several contemporary poets, and seems to reconcile himself to the exuberant unpredictability of the magazine.

Propomos levantar e problematizar algumas questoes acerca da imagem da adolescencia a partir de uma visita a tres filmes do cineasta estadunidense Larry Clark: Kids (1995); Ken Park (2002) e O Cheiro da Gente ( Smell of us, 2015). Tentamos mostrar que a perversao torna-se, nas narrativas clarkeanas, uma manobra estilistica , possivel de capturar, na propria forma filmica, algo que constrange o leitor e que se revela nos modos de enderecamento/enquadramento do olhar lancado sobre esses adolescentes, na maneira de inscrever a materia elastica e inacabada de seus corpos no espaco do filme. Palavras-chave: Cinema. Perversao. Adolescencia. Larry Clark. The Lost Adolescence: body and perversion in Larry Clark’s cinema Abstract We propose to raise and problematize some questions about the image of adolescence from a visit of three films by the American filmmaker Larry Clark: Kids (1995); Ken Park (2002) and The Smell of Us (2015). We try to show that perversion becomes, in the clarkean narratives, a stylistic maneuver, possible to de captured in the film form itself, something that constrains the reader and that reveals itself in the ways of addressing / framing the gaze on these adolescents, in the ways of inscribing the elastic and unfinished matter of their bodies in the space of the film. Key words: Cinema. Perversion. Adolescence. Larry Clark.

There is branch of history to which Thomas Hobbes's discoursing of religion commits him, and this is a history of error and perversion. The history of thought has been too much left in the hands of philosophers, historians of philosophy and scholars who have assumed that the history of thought can be subsumed under the history of successive philosophic systems. Experience and prudence, forms of thought appropriate to the study of natural and civil history, have no part to play in the study of revealed history. Political authority is present from certain moments and it has a history-including a recorded commencement-because the prophetic word has a past, present and future and entails different modes of authority at different times. Prophecy and eschatology formed a device for drawing the process of salvation more fully within the world of time, and so subjecting its outward organization to temporal authority; history was the instrument of the secular power.

Esta investigación —realizada sobre la base de las nociones freudianas de perversión y de lo cómico, y utilizando los conceptos lacanianos de goce y falta—: a) propone y justifica la tesis de que lo cómico y el humor son formas de perversión; b) muestra la relación estructural de los modos de lo cómico con el sadismo y el masoquismo e ilustra la tesis con las categorías de Gilles Deleuze; c) propone una teoría de sus relaciones basada en la noción de quiralidad y formula que los dos conceptos son eniantómeros con respecto al sentido de relación entre la propia falta y la del Otro. This research — carried out on the basis of the Freudian notions of perversion and of the comic and using the Lacanian concepts of jouissance and fault—: a) proposes and justifies the thesis according to which the comic and humor are forms of perversion; b) shows the structural relation between the modes of the comic and sadism and sadomasochism, illustrating the thesis with the categories set forth by Gilles Deleuze; and c) suggests a theory of their relations based on the notion of chirality, stating that the two concepts are enantiomers with respect to the meaning of the relation between one's own fault and that of the Other. Cette recherche — réalisée sur la base des notions freudiennes de perversion et du comique, et en utilisant les concepts lacaniens de jouissance et de manque —: a) propose et justifie la thèse que le comique et l’humour sont des formes de perversion; b) montre le rapport structurel des modalités du comique au sadisme et au masochisme tout en illustrant cette thèse avec les catégories de Gilles Deleuze; c) propose une théorie de ses rapports basée sur la notion de chiralité et formule que les deux concepts sont énantiomères à l’égard du sens de rapport entre le propre manque et celui de l’Autre.

Starting with the paternal imposition of a fetish on women, clothes and jewellery that have the function of protecting them from other men, Gerard Pommier suggests that this move is implicated in Lacan’s term ‘pere-version’. He asks then whether there is a form of pere-version for a woman? Taking the example of the Christian mystics, whose orgasm was witnessed by the Church and transcribed by artists, he asks whether jouissance is in the suffering itself or rather in its transcription? His response is that the jouissance of suffering depends on the presence of the voyeur, and that this might characterize the sexual jouissance not only of mystics. Just as radically, he examines the way in which motherhood offers the possibility for female perversion through the fetishization of the child.

Focusing on post-colonial Mauritius, Ariana Cziffra elaborates the distinctions between perversion as clinical structure, perverse fantasy and perverse defences, to defend the idea that perversion and ‘perverse relations do exist’; and further that a psychoanalytic understanding of perversion in all its manifestations offers a way of both reading and of intervening in a post-colonial community. If colonial history lends complexity to the idea of transgression, in Mauritius while incest and paedophilia have increased, so also have the uses of religion and of the currently fashionable if problematic diagnosis of “narcissistic pervert”. How to think perversion in this complex historical/ethnic/cultural/ linguistic context? The question about the perverse effects of post-colonialism reverts back, she argues, to the question of perversion as a structure that is always, everywhere present.

This study traces and identifies the psychological crisis of the veteran, old hand poet, Suhaym, the slave of Bani Al-Hashaas as exposed through his poems. This personality disorder results basically from the poet's inability to socialize and merge into his local society which denies him both his masculinity and recognition as a poet. The study also deals with the repercussions of the poet's psychosis which reduces him to sadism, narcissism, and perversion. As a result, the poet is resolved to get revenge on the tribe through tarnishing the chastity of its women and depicting sexual savagery towards them in his poems. The study results find that these poems are nothing but mere delusions and Suhaym has to pay the price eventually by being burned to death.

Within the vastness of the plant species, certain living systems show tendril structures whose motion is of particular interest for biomimetic engineers. Tendrils sense and coil around suitable grips, and by shortening in length, they erect the remaining plant body. To achieve contraction, tendrils rotate along their main axis and shift from a linear to a double-spring geometry. This phenomenon is denoted as the free-coiling phase. In this work, with the aim of understanding the fundamentals of the mechanics behind the free coiling, a reverse-engineering approach based on the finite element method was firstly applied. The model consisted of an elongated cylinder with suitable material properties, boundary, and loading conditions, in order to reproduce the kinematics of the tendril. The simulation succeeded in mimicking coiling faithfully and was therefore used to validate a tentative linear actuator model based on the plant’s working principle. More in detail, exploiting shape memory alloy materials to obtain large reversible deformations, the main tendril features were implemented into a nickel-titanium spring-based testing model. The results of the experimental tests confirmed the feasibility of the idea in terms of both functioning principles and actual performance. It can be concluded that the final set-up can be used as a base for a prototype design of a new kind of a linear actuator.

Teesid: Artiklis käsitlen värske pilguga 1991. aastal ajakirjas Science Fiction Studies aset leidnud debatti J. G. Ballardi skandaalse romaani „Crash“ ümber. Toona küsiti, kas selles esitatud tehnoloogiat ja inim­kehi segustava maailma puhul on tegu allegoorilise moraalse hoiatuse või iselaadse perversse realismiga. Täiendan seda debatti poeetilisest küljest – vaatlen põhjalikult romaani näitavat esituslaadi, loetelulisust, tehnilist sõnavara, transtsendentsusele osutavat kujundlikkust ning peategelase-, jutustaja- ja autori-tasandi ühtsust – ning järeldan, et „Crashi“ läbinisti ambivalentne poeetika jätab teose võrdselt avatuks mõlemale tõlgendusvõimalusele.S U M M A R YMy article revisits a well-known discussion about morality in J. G. Ballard's ”Crash“ that surrounded the appearance of Jean Baudrillard's essay of the same name in a special section of Science Fiction Studies (Nov 1991). In this debate N. Katherine Hayles and Vivian Sobchack strongly oppose Baudrillard's claim that there ”is no affectivity behind [the world that Crash depicts]: no psychology, no ambivalence or desire, no libido or death drive“ to Ballard's novel, and, accordingly, no moral point or warning either. In contrast, Hayles and Sobchack argue that the novel warns us about the transformative influence of contemporary technology.To shed new light on this opposition (whose sides I briefly introduce), I undertake a thorough analysis of ”Crash's“ main poetic features: the prevalence of showing over telling, the recurrence of accounts over descrip­tions, the thoroughly technical vocabulary, allusions towards transcendence, and the interpretive anxiety created by a first-person narrator that bears the author's name. I map the contrast between Ballard's disinte­rested style of writing and the apparent affective charge of his characters while showing how this contrast generates a deep ambivalence that enables both moral and morally indifferent interpretations of the novel. The reader is never told what to think about the obscene events that occur and this provokes him to make difficult moral decisions about the novel. The ambivalence of ”Crash's“ poetics has the subversive potential to dislocate and reconsider the so far predominantly marginalized role of psychopathology and perversion in contemporary techno-culture.

Some might argue that when Nazis fantasize themselves as medieval knights, they debase a beautiful, noble and innocent past. They might insist that this fantasy, which feeds a desire to see the male body as larger than life, this fetishizing of the body as armor and muscle, may be perverse, but the ideal – the chivalrous knight who pledged himself to honor, loyalty and brotherhood – should not be tarnished by that perversion. This essay, however, explores the possibility that there is, in all imaginings of the knight, always the potential for fascist desire. It suggests that there may be an unsavory kinship between the armored warriors of medieval Europe – even the romanticized armored warriors of King Arthur’s court – and the armored divisions of Nazi blitzkrieg. A fascist aesthetic is the darkness at the heart of Arthurian history, especially as it celebrates aggressive hypermasculinity mobilized in the service of a persecuting society intent upon domination.

In this paper, I draw on Freudian and Lacanian psychoanalytic theory to consider the notion of perversion and fetishisation within the context of contemporary UK public mental health services which have been subject to New Public Management restructuring. Offering an organisational case example based on clinical experience within an expanded NHS mental health service, I explore how services that are subject to neo-liberal regulatory and performance management systems sponsor a perverse organisational solution to the anxieties and difficulties of dealing with psychologically distressed patients. I conclude that theorising the unconscious dynamics of perversion and fetishism may provide an opportunity to rethink governmentality, offering a potentially fruitful means of addressing recent political concerns about the negative impact of a ‘target culture’ on public sector health services.

La mística no siempre ha transitado por el mismo camino ni en el mismo sentido. En algunas obras de literatura se presenta como una mística al revés. En el cuento “Rito”, de Juan García Ponce, se lleva a cabo un proceso místico transitando los caminos del mal. A partir de la desnudez del cuerpo de una mujer joven y hermosa, del erotismo y del acto sexual se pretende que el Espíritu de la Divinidad se manifieste. En este cuento está presente la transgresión y la perversión de las normas sociales de comportamiento dentro del matrimonio. Los personajes del cuento, Liliana y Arturo, son esposos. Sin embargo, les gusta practicar un rito en el cual se invita a cenar a un individuo desconocido. De lo que se trata es de poner en práctica “las leyes de la hospitalidad” que el escritor francés Pierre Klossowski propone en sus novelas Roberte, esta noche y en La revocación del Edicto de Nantes. En el nivel profano, el esposo, como Señor de la casa, debe acceder al nivel místico de Anfitrión; a su vez, la Señora de la casa, como esposa, debe acceder al nivel místico de Anfitriona. Para ello, el esposo debe ofrecer a su esposa al invitado, como Tercero desconocido. El esposo, como Anfitrión, contempla el acto sexual de su esposa con el invitado: ella es la Anfitriona; y el Tercero desconocido funciona como el elemento angelical que comunica lo profano con lo sagrado. En el acto sexual y en la desnudez del cuerpo de la hermosa mujer se manifiesta el Espíritu de la Divinidad.Mysticism has not always gone through the same road nor in the same sense. In some works of literature it is presented as an inverted mysticism. In the story “Rito”, by Juan García Ponce, a mystical process is performed traversing the ways of evil. Commencing with the nakedness of a Young beautiful woman’s body, the eroticism and the sexual act, it is intendend that the Spirit of Divinity manifests itself. In this story the transgression and perversion of the social norms of behavior within marriage is present. The characters in the story, Liliana and Arturo are spouses. However, they like to practice a ritual in which they invite to dinner an unknown individual. The purpose is to put into practice the “laws of hospitality” that the French writer Pierre Klossowski proposed in his novels Roberte tonight and Revocation of the Edict of Nantes. In the secular level, the husband, as master of the house, must access the mystical level of Host; in turn, the Mistress of the house, as wife, must access the mystical level of Hostess. Thus, the husband must offer his wife to the guest, as the unknown Third. The husband, as Host, contemplates his wife’s sexual act with the guest: she is the hostess; and the unknown Third functions as the angelic element that connects the profane to the sacred. In the sexual act and in the nakedness of the beautiful woman’s body is manifest the Spirit of Divinity.

This article examines the historical truth of the ‘pear of anguish’ – a common exhibit in European dungeon museums that has recently made its way into the popular imagination by way of TV shows and internet sites. Like the ‘chastity belt’ before it, the ‘pear of anguish’ evidences the ‘dark medievalism’ of the modern consciousness, a dystopian view of the Middle Ages that imagines pre-Reformation Europe as a nexus of cruelty and sexual perversion. The historical reality, however, traced here through commentaries and catalogues from the past few centuries, would seem to indicate that both the device itself and its imagined function are creations of the modern world.

This paper will develop a reading of J. M. Coetzee's novel The Master of Petersburg (1994) alongside ideas that Coetzee develops in Giving Offense: Essays on Censorship, which was published in 1996 by the University of Chicago Press the year he began teaching as a visiting Professor at the Committee of Social Thought at Chicago. That elements of these two books might be related can be inferred from the overlap involved in the writing process of each (the first essay in Giving Offense appeared in print in 1988 and Coetzee worked on essays related to the book from then until 1996). The Master of Petersburg appeared after Age of Iron (1990) and was followed by Disgrace in 1999. It might be paired with Foe, which appeared in 1986, as a novel that explicitly engages with the work of another novelist: Daniel Defoe in Foe and Dostoevsky in The Master of Petersburg. This essay will consider how an understanding of excess that involves thinking outside of or beyond reason can be witnessed in both of these books. Excess will further be linked to related ideas of "offense" and "refraction" or "perversion": each of these terms involves elements of "going beyond" an already given perspective in order to generate new meanings and new understandings of the "true." These processes are revealed through a comparison of themes developed by Dostoevsky in "At Tikhon's"--a chapter that was censored from the original published version of his novel Demons (see Dostoevsky, Demons 749-87), because it was considered perverse, offensive and excessive--and The Master of Petersburg, which enters into dialogue with it. As has been underlined by earlier critics and reviewers, The Master of Petersburg involves a pairing of Coetzee's work with Dostoevsky's novel Demons (which was published in earlier translations as The Possessed, The Devils), and the historical events related to the perversely violent Russian revolutionary Sergei Nechaev and the murder of his student follower Ivanov in 1869 (see Adelman, Attridge, Kossew, Lawlan, Popescu, Scanlan). In order to first get our bearings, it is necessary to establish the terms of relation between Dostoevsky's novel and Coetzee's novel, and the conceptual ideas, outlined in Giving Offense, that offer insight into the kind of thinking in excess of rational thought that Coetzee achieves in The Master of Petersburg. The main outlines of this relationship have now been well summarized by J. C. Kannemeyer in his recent biography of Coetzee, who sets out most of the differences that I will recite again below. Kannemeyer also details the controversies that surrounded the reception of Coetzee's novel, as critics including Dostoevsky's biographer Joseph Frank lined up to heavily criticize what they perceived as his distortion of the facts, which are considered arbitrary falsifications (Skow, Frank), while others, including the distinguished critic James Wood, seemed to take offense at the manner in which the novel deals with Dostoevsky and his legacy, by unfavorably comparing Coetzee with Dostoevsky. One critic, Zinovy Zinik, even goes so far as to denounce the work as "an act of literary terrorism" (for an overview see Kannemeyer 461). Elements of Coetzee's novel enter into dialogue with Dostoevsky's Demons that also refers to historical events that concern Sergei Nechaev and his circle. Other elements, however, clearly diverge from both Dostoevsky's novel and actual events. Coetzee's story imagines Dostoevsky in 1869 returning in secret from financial exile in Dresden, where he was living with his young wife Anaya Snitkina, in order to bury his only son Pavel (who was in fact a stepson, adopted by Dostoevsky when he married his first wife Marya Isayeva in 1857). In Coetzee's novel Pavel has been living under the name of his biological father Isaev, and Dostoevsky at first travels using Isaev's papers to hide from his creditors who might have him detained should they become aware of his presence in the city. …

Famous article of Tischner “The Decline of Christianity Thomist”, published on pages of the monthly the “Znak” in 1970 evoked the wave of interesting polemics in the Polish philosophical environment. They concerned on one hand the role of the Thomism in contemporary theology, on the other the criticism of the position of Tischner. Very author responded to a challenge criticizing the Thomism as the synthesis of data of the Revelation and Aristotelian philosophy. Because this merger is seizing character of both above ingredients – compared to two colours mixt with oneself and in the end constituting the new colour. Thomistic synthesis, from Tischner’s perspective, came into existence in the crowning moment of the history of the Christianity in Europe. She agreed on contemporary models of the scientific nature, culture, forms of the statehood. However in our times dangerous of it is a result uniquely thomistic “becoming poor” not to say “perversion” Christianities. And so in our times would the new synthesis be desired? Through the division of the learning, took the place of universal syntheses different “microsystems”, and very idea of the synthesis turned out to be too ambiguous, and for her conditions are impossible to fulfil. Valuable however rapidly of Tischner there would be rather a hermeneutic proposal of Paul of Ricoeur indeed to concentrate on the text of the christian revelation without the thomistic dogmatism here. Hence also, however dusk of the Thomism is opening intriguing and the philosophical latest perspectives for the Christianity.

Based on an ethnographic fieldwork carried out within the Brazilian Senate's inquiry committee on Pedophilia and in the Federal Police Department, the aim of this paper is to analyze the strategies and the effects of the conceptualization and the combat of the phenomenon of sexual violence against children as "pedophilia" and with focus on child pornography on the internet. The text consists of a historical approach to the emergence of the problem, an analysis of the political strategies of the Parliamentary Inquiry Committee on Pedophilia and an ethnographic description of the police investigations into child pornography on the internet. The hypothesis is that this "anti-pedophilia crusade" pivoting on the threats of a sexual perversion, is not as effective in the protection of the real child victims of violence as it is in the defense of an ideally innocent childhood. Baseado em uma pesquisa etnográfica realizada junto à Comissão Parlamentar de Inquérito (CPI) da Pedofilia, no Senado Federal brasileiro, e no Departamento de Polícia Federal, o objetivo deste artigo é analisar as estratégias e os efeitos do enfrentamento à violência sexual contra crianças a partir da noção de "pedofilia" e com o enfoque na pornografia infantil na internet. O texto é composto por uma abordagem histórica da emergência do problema, uma análise das estratégias políticas da Comissão Parlamentar de Inquérito da Pedofilia e uma descrição etnográfica das investigações policiais contra a pornografia infantil. A hipótese é que essa "cruzada antipedofilia", centrada na ameaça de uma perversão sexual, protege menos crianças vítimas de violência do que um ideal de infância inocente.