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Cet article porte sur le contexte dramatique des plaintes dans les opéras de Jean-Baptiste Lully et analyse les différentes manifestations du sentiment amoureux qui engendrent des moments de lamentation. Témoignage de la souffrance, la plainte devient, au cours du XVIIe siècle, un type d'expression vocale qui a une place privilégiée dans la dramaturgie des opéras. Le goût du public pour le pathétisme et le drame justifie le grand nombre des plaintes que nous retrouvons dans les tragédies lyriques, ainsi que leur diversité du point de vue du statut des personnages. La plupart des plaintes ont comme point de départ une absence - soit l'absence de l'être aimé, résultat d'un abandon ou d'un enlèvement, soit l'absence du sentiment amoureux chez l'autre. La jalousie, l'infidélité et la vengeance accompagnent souvent ces absences et ce sont des éléments pleinement exploités dans les plaintes lullistes. [ABSTRACT FROM AUTHOR]

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Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Synergies Algérie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

We cannot deny the role of women in the development of French-speaking Maghreb literature. Their presence is all the more intense as they have often evoked through their works what they did not have the right or the courage to address elsewhere, either sensitive issues such as the status of women, or the relationship between men and women in a society dominated by patriarchal traditions. Hawa Djabali, in her novel Agave, far from being trapped by clichés or trying in vain to prove the superiority of one over the other, draws with the help of metaphorical images and a particular treatment of the space–time, the relationship between a man and a woman, and describes their quest for identity, to present at the end a mode of peaceful coexistence leading to the personal and social fulfillment of both genders. This article aims to analyse and dissect these literary images, to retrace the symbolic and psychological journey pursued by the author in this romantic creation. This article shows that this study on the evolution of the romantic relationship within a couple is presented above all as a questioning of oneself, and offers the opportunity for an introspective reflection on the human, and encourages secondly, to set aside stereotypes and to break the chains of hold. [ABSTRACT FROM AUTHOR]

Unlike numerous traditions, poetic inspiration of Moorish poets is not spiritual but carnal because it takes root in the desire for a woman, who taste like Baudelaire's Fleurs du mal. Love poems find their reason in the context of their production. In this case, the decisive moment of the meeting and the long-lasting impression it leaves on the poet. Love poems are not the privilege of a handful, they are primarly composed in the specific Arabic dialect (assāniyya), with the aim of reaching the woman's heart, like Bedouin Arabic pre-islamic poetry. So her first name, her body, her qualities and defects, from erotised become poetised. [ABSTRACT FROM AUTHOR]

While love passes for being a feeling born in the West in the twelfth century, love poetry, in its declamatory or sung form, appeared in the sixth century among the Bedouin of the Arabian desert before flourishing in the Arabic cities, then Persian and finally in Europe. Love passion, excessive in essence, can be said only in excess with its joys and its distress. The man who experiences this state of passion is feminized, finding in the medium of poetry a socially legitimate space to express his emotions, including jealousy, nostalgia or blasphemy. Singing the beauty of the beloved and the disorder she or he inspires is a way of acknowledging his emotional vulnerability and also a mode of love conquest. But if the language of predation can be found in heterosexual and homosexual Arabic or Persian masculine poetry, such language is absent from feminine poetry, this difference revealing the asymmetrical polarity of desire according to gender. [ABSTRACT FROM AUTHOR]

THE CREATION OF THE MATRIMONIAL LINK IN RAOUL DE CAMBRAI. THE CASE OF BERNIER AND BEATRICE Within the framework offered to us by Professor Craig Baker during his seminar of French medieval texts, this article attempts to tackle and confront the song of Raoul de Cambrai with the theme of marriage by focusing on the question of its formation, from the time of the events supposed to be related by the song (end of the Frankish period, towards IXe century) to the period of its composition (the middle of feudal times, around the twelfth century). This study, which includes an introduction (I) and a conclusion (III), therefore focuses on the analysis of what specialists call « the formation » of the matrimony link (II). More specifically, after studying the developments proposed in the text of the song on the construction of this link between Bernier and Beatrice (A), the article strives to understand how it developed between the ninth and the end. of the twelfth century (B) in order to be able to appreciate the specificity of the work in its time and to establish the extent to which it could influence the presentation made by the narrative of the previous events (C). Profitant du cadre de travail qui nous a été offert par Monsieur le Professeur Craig Baker lors de son séminaire d'explication de textes français du Moyen-Âge, le présent article se propose d'aborder, puis de confronter à la chanson de Raoul de Cambrai la thématique du mariage en se concentrant sur la question de la formation de celui-ci, et ce, dans une époque qui va des événements censés être relatés par la chanson (fin de la période franque, vers le IXe siècle) au moment de sa composition (le milieu des temps féodaux, vers le XIIe siècle). Cette étude, comportant une introduction (I) et une conclusion (III), porte donc sur l'analyse de ce que les spécialistes appellent « la formation » du lien matrimonial (II). Plus spécifiquement, après avoir étudié les développements que propose le texte de la chanson sur la formation de ce lien entre Bernier et Béatrice (A), l'article tâche de comprendre la manière dont celui-ci s'établit entre le IXe et la fin du XIIe siècle (B) afin de pouvoir apprécier la spécificité de l'œuvre dans son époque et d'établir dans quelle mesure cette dernière a pu influencer la présentation effectuée par le récit des faits antérieurs (C).

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Cet article porte sur le contexte dramatique des plaintes dans les opéras de Jean-Baptiste Lully et analyse les différentes manifestations du sentiment amoureux qui engendrent des moments de lamentation. Témoignage de la souffrance, la plainte devient, au cours du XVIIe siècle, un type d'expression vocale qui a une place privilégiée dans la dramaturgie des opéras. Le goût du public pour le pathétisme et le drame justifie le grand nombre des plaintes que nous retrouvons dans les tragédies lyriques, ainsi que leur diversité du point de vue du statut des personnages. La plupart des plaintes ont comme point de départ une absence - soit l'absence de l'être aimé, résultat d'un abandon ou d'un enlèvement, soit l'absence du sentiment amoureux chez l'autre. La jalousie, l'infidélité et la vengeance accompagnent souvent ces absences et ce sont des éléments pleinement exploités dans les plaintes lullistes. [ABSTRACT FROM AUTHOR]

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Best known as a Neoplatonic translator, commentator and philosopher, Marsilio Ficino (1433-1499) was also a physician attached to the Medici family and the author of the medical treatise The Three Books of Life. Relying both on Socrates, who makes the philosopher a therapist, and on Avicenna, for whom the quality of the body acts on the spirit, Ficino develops a medicine at the junction of the psychic and the somatic. The laughter of Democritus, opposed to the tears of Heraclitus, occupies a central place here, as it can dispel the melancholy of those who devote themselves excessively to study. We still have to distinguish several laughs: the mocking and ironic, contemptuous or sardonic, black or yellow grin, is still symptomatic of melancholy and madness. Jovial and bright laughter should be preferred over it, in accordance with a medicine of light and the elements, which favors warmth, color, sparkle and brilliance. But more than laughter, which is always the sign of a passion, Ficino retains the value of a smile: the clarity of the smile that illuminates mystical rapture. The soul and the body find balance in the addition of a third dimension, which is the smile of the sky, the smile of the solar stars and the jovial planets. Laughter or cosmic smile, silent music, which is the manifestation of the divine presence and the serenity of the blessed. [ABSTRACT FROM AUTHOR]

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

Dans L’Adolescence clémentine, l’icône de la Ferme Amour peut cacher un tendre amour plus discret, que les lecteurs anciens reconnaissaient chez Marot, alors que les lecteurs des dernières décennies y sont plutôt indifférents. Réhabiliter la tendresse comme vertu, la soustraire à la hiérarchie des styles ou des âges qui, d’ordinaire, en limite l’extension, c’est une manière de promouvoir une certaine idée du masculin et un certain regard sur les rapports entre hommes et femmes.

Les personnes handicapées sont représentées dans la littérature et le cinéma de la Chine socialiste essentiellement de deux manières : soit comme contribuant courageusement à la construction du socialisme en dépit de leurs déficiences physiques, soit comme guérissant miraculeusement grâce aux pratiques médicales promues par le Parti communiste chinois. Cet article vise à apporter une compréhension plus nuancée de ces deux paradigmes narratifs. Dans le premier cas, il examine une structure co-constitutive de l'amour et du handicap, puis met en évidence la façon dont les écrivains conservent une certaine agentivité sous la censure socialiste en s'écartant de cette structure. Cet article retrace également l'élaboration des récits de guérison miraculeuse et démontre que ce processus résulte d'une interaction complexe entre le handicap, les pratiques médicales soviétiques ou chinoises, les relations sino-soviétiques et le culte de Mao. J'étudierai en outre les raisons pour lesquelles le second paradigme a dominé le premier durant la Révolution culturelle. [ABSTRACT FROM AUTHOR]

Cette réflexion est un survol d'œuvres d'écrivains, poètes, philosophes ou médecins. Nous évoquons la psychologie du désordre amoureux, des maladies d'amour, des troubles dans lesquels la thématique amoureuse est centrale : jalousie morbide, érotomanie, passion amoureuse normale et pathologique ou aveuglement délirant. Nous rendons hommage à d'illustres auteurs : Maurice Dide, Pierre Janet, Sigmund Freud et Gaétan de Clérambault. Dans ce domaine, l'emploi de nouveaux termes est en plein essor. Il ne va pas toujours avec une compréhension psychologique plus profonde des phénomènes décrits. L'amour normal existe et, dans certaines conditions, il peut durer. Il existe aussi divers phénomènes d'attachement paradoxal. Mais les prises d'otages et le syndrome de Stockholm ne doivent pas faire oublier des situations traumatiques beaucoup plus fréquentes : chez les enfants maltraités et abusés, les conjoints battus ou les victimes de crimes de guerre. De tels actes sont régulièrement sous-tendus par des relations de domination et d'emprise sur autrui dont l'accessibilité à une démarche thérapeutique est quasiment inexistante. This reflection is an overview of the works of writers, poets, philosophers and doctors. We evoke the psychology of love disorder, love diseases, disorders in which the theme of love is central: morbid jealousy, erotomania, normal and pathological love passion or delusional blindness. We pay tribute to illustrious authors: Maurice Dide, Pierre Janet, Sigmund Freud and Gaétan de Clérambault. In this field, the use of new terms is booming, but does not always come with a deeper psychological understanding of the mechanisms depicted. Love that is not pathological does exist and, under certain conditions, it can last. There are also various phenomena of paradoxical attachment. Hostage-taking and the Stockholm syndrome should not make us forget much more frequent traumatic situations, such as mistreated and abused children, battered spouses or victims of war crimes. Such acts are regularly underpinned by relationships of domination and control over others, for which access to a therapeutic approach is almost non-existent. The semiology of passionate love seems to coincide, on several points, with that of fanatical passion: the exclusivity of the object, the blind certainties, the submission of the object, overestimation, idealization that distorts judgment, and the absence of criticism. The fanatic, as the lover can sometimes become, is a remorseless criminal. The lover is passionate about the ideal, like the passionate idealists described by Dide. This connection informs us about the relationship between the loving self and its object. In passionate love, Freud observes that the self empties itself in favor of the object, which becomes more and more grandiose. The lover gives the impression that his or her self disappears and fades under the shadow of the ideal. But there is nothing altruistic about this self-sacrifice: the self remains faithful to its self-love. This abandonment of the self to the object is a narcissistic strategy of the self that is nourished and restored through the investment of the object. If we consider the psychological signs and disorders that characterize the psychic mechanisms of love, we find that these phenomena have points in common with psychiatric pathologies, especially in the intellectual, physical and affective spheres. The obsession, the impulse, the narrowing of the field of consciousness of a lover explains the fact that he becomes unable, despite his awareness of the danger, to renounce his passion, sacrificing instead his fortune, his situation, and even his life, to a love that he knows is sometimes harmful, even dead-end. For Pierre Janet, passion itself resembles madness, both in its origin and in its development and psychodynamic mechanism. Love-hate is a great purveyor of criminal conduct, such as violence, robbery, rape, crimes of passion, suicides and double suicides. According to some authors, the crime of love is only a crime of self-love that reveals an assertion of control over an object. Many scientific works have introduced a distinction between passion without delirium and delirium with passion, including erotomania, where passion becomes central to psychic activity. Its outcome can be fatal, taking the form of homicide, suicide out of desperation or spite. It can also result in moral suicide by sacrificing the future and then lead to social death. Jealousy-passion and jealousy-delusion, closely linked to feelings of love, have been the subject of writings both in literature and in psychiatric works, and their nosographic descriptions by many authors reflect the difficulty of drawing a tight partition between them. [ABSTRACT FROM AUTHOR]

Les passions ont une longue histoire philosophique, puis médicale, depuis l'Antiquité. Pinel les utilise dans le traitement moral. Esquirol leur consacre sa thèse. Au tournant des XIXe et XXe siècles, le délire des persécutés–persécuteurs (1886), puis le délire de revendication (1909) marquent en France l'émergence de troubles psychotiques reposant sur l'exaltation passionnelle. Dide introduit dans son ouvrage de 1913 le mécanisme psychologique de la passion, conjugué à l'idéalisme, comme organisateur d'une nouvelle forme de pathologie mentale. Il distingue les idéalistes passionnés de l'amour (chasteté), de la bonté (religion, société, nature), puis de la beauté et de la justice (revendicateurs, réformateurs), cette dernière forme aboutissant à la cruauté. Il s'appuie sur de nombreux exemples historiques, du Moyen Âge au XXe siècle, et sur quelques observations. Ces sujets se caractérisent par la prédominance des anomalies de la sphère affective, auxquelles sont subordonnés jugements et représentations, par une inclination fixe se cristallisant brusquement, par leur intensité passionnelle, ce qui renvoie plutôt à un trouble de la personnalité qu'à une pathologie psychotique. G. de Clérambault crée en 1921 le groupe des délires ou syndromes passionnels, dont la forme principale est l'érotomanie, qu'il distingue radicalement de l'idéalisme passionné de l'amour. Dans son manuel, Henri Ey intègre les délires passionnels et de revendication au sein des délires chroniques paranoïaques. Derived from the Greek pathos and the Latin passio, the French word passion in used in the Middle Age to designate a suffering and then a violent affection. After the Treatise on passions of Galen, it is only during the 17th century that physicians (like Cureau de la Chambre) and ecclesiastics (Coëffeteau, Senault) write books about the passions. In his Treatise on the passions of the soul (1649), Descartes emphasises a dualist approach body/mind, while Spinoza uses in his Ethics (1677) a monist conception. Pinel recommends to oppose the different passions between them in his "moral treatment" (1800). Esquirol writes a medical thesis on the passions (1805) and describes an affective (or reasoning) monomania (1838). Inside the French classification of chronic delusional states by their themes, Pottier isolates the delusion of "persecuted–persecutors" reasoning (1886). Serieux and Capgras develop its description in their "vindication (revendication) delusional state" (1909). Four years later (1913), the book of Maurice Dide (1873–1944), a French alienist working at Toulouse, is published in the context of the new classification of delusional disorders by "mechanisms" (interpretation, hallucination, imagination) and constitutions. The author describes three great groups of passionate idealists: 1) love, either profane, or religious, but always chaste, sudden, based on an erroneous affective judgement, a fixed inclination, mechanisms of passive contemplation and of admiration; 2) goodness, concerning philanthropists, religious and social reformers (Jean de Leyde, Saint-Simon, Cabet), idealists of the nature (François d'Assise, Rousseau, Tolstoï); 3) beauty and justice, leading to cruelty (the most important chapter). The idealism of the esthete is egocentric, relies on an overdeveloped personality (D'Annunzio) and can reverse in moral and physical cruelty (Sade). The passionate idealism of the justice can also be egocentric: it corresponds with the "vindication (revendication) delusion" (overdeveloped personality, instability, sudden beginning, intellectual excitation, capacity of conviction, dangerous behaviour). On another hand, the altruistic idealism of the justice is either individualistic (regicides, crimes of anarchists), or synthetic, with more moderate personality disorders, but implacable reforming fanaticism (Torquemada, Calvin, Robespierre). At last, Dide studies the most pathological class of "instable pseudo-altruist vindictive" lunatics, which present comorbidity with delusional and mood disorders (Marat). The conclusion of the book emphasizes on the prevalence of disorders of the affective faculties rather than of the intellectual ones and on the intensity of the passions among the idealists. They suffer from a personality disorder rather from a psychotic disorder. In 1921, Clérambault describes the passionate delusions or syndromes, subdivided into "vindication", erotomania and jealousy ones. He distinguishes erotomania from Dide's passionate idealism of love. Guiraud (1942) tries to maintain the autonomy of the two groups. But French manuals of psychiatry, since Henri Ey (1960) valid Clerambault's classification of passionate psychosis, included into the chronic delusional disorders (paranoia). [ABSTRACT FROM AUTHOR]

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Partant d’une comparaison entre le recueil Les Plaisirs et les Jours (1896) et les textes retrouvés par Bernard de Fallois, publiés en 2019 sous le titre Le Mystérieux Correspondant et autres nouvelles inédites, l’article aborde quelques aspects de l’œuvre de jeunesse de Marcel Proust. Les nouvelles, les réflexions et les poèmes que le jeune Proust inclut dans son premier livre témoignent de l’influence esthétique de Robert de Montesquiou, ainsi que d’une morale catholique conventionnelle. Par contre, les écrits divers rassemblés par Bernard de Fallois ne sont pas seulement « plus parlants », plus osés du point de vue moral (cf. Proust 2019, 5) ; ils sont déjà marqués par l’esprit d’analyse typique de l’auteur de La Recherche, imprégnés de l’ironie proustienne qui transformera Montesquiou le « Professeur de Beauté » en Charlus.

This study objective is to reflect on the love object choices and the extent to which they cease to be in the sphere of desire and start to act in the field of need, that is, of dependence. Psychoanalytic theory was used, emphasizing Sigmund Freud without disregarding the theoretical advances of Jacques Lacan, in addition to some commentators on both. Initially, we can see the dynamism present in the term "love" and its socio-historical character, from its definition to its modes of expression. From psychoanalysis, it is possible to see how some relationships can move from the sphere of desire to the need one, resulting in a dependent type of love that, not infrequently, leads lovers to crazy acts in an attempt to keep the object of love, since its absence causes the reopening of the narcissistic wound, which has its suture in the love object. [ABSTRACT FROM AUTHOR]

This paper explores, locates, and reviews the mentions made by Lacan in the course of his teaching about the so-called "passions of being". As this is a first approach that constitutes a more extensive investigation, it was considered to initially locate the mentions accompanied by the effects carried out by tracking. Firstly, the problem of passions for the psychoanalytic clinic is introduced. Then, the tracking we previously mentioned is arranged, contextualizing the references, and marking similarities and differences, in the process of generating a dialectical movement between them. The final section sets forth the conclusions and subsequent lines of work. [ABSTRACT FROM AUTHOR]

The love letter is an act of uprising that allows the passage from a border logic to a logic of the littoral, of the turn. Between knowledge and jouissance, the letter makes a littoral to leave the impasse of the demand for meaning and the mirage of the phallic. Through this passage, the love letter allows us to understand not only the function of the written word in the confrontation of the subject with the bar of his truth, but also the trajectory of the cure: from the letter in suffering in the transference to the love letter in the pass. [ABSTRACT FROM AUTHOR]

Just as there is an instant of seeing, a time for understanding and a moment of concluding in Lacanian theory, there is also an instant of obeying, a time of indignation and a moment to rise up. Lacan introduces these logical times to think the place of the Other. In this paper other logical times will be introduced to think the place of the coronavirus in our reality. The coronavirus and its pandemic have caused a series of subjective responses to anguish such as obedience and indignation; the proposal in this paper is that there is another way, a way out of that anguish through the act of rising up with the others. [ABSTRACT FROM AUTHOR]

This article focuses on the division of religious labour according to both gender and marital situation, based on an ethnographic survey in a Pentecostal church with a mixed membership in Istanbul (Turkey). Following the description of religious labour throughout its six areas, this research shows that celibacy is made relatively invisible inside the church, where the emphasis is on conjugality and family, while the latter bonds are de-emphasised in the outside world, where singles are at the forefront. "Love" appears as a multifaceted reality, encompassing not only justifications but the very output of religious labour, inside and outside the faith community. Résumé: Cet article s' intéresse à la division du travail religieux selon le genre et la situation conjugale, à partir d' une enquête ethnographique menée dans une église pentecôtiste socialement "mixte" située à Istanbul (Turquie). À travers la description du travail religieux dans les six principales aires où il se déploie, cette recherche montre que le célibat est relativement invisibilisé au sein de l' église, où l' accent est mis sur la conjugalité et la famille, tandis que ces liens perdent en importance à l' extérieur de l' église, où les célibataires sont au premier plan. "L' amour" apparaît comme une réalité multiple, qui non seulement justifie les modalités du travail religieux, mais est aussi le produit de ce travail, à l' intérieur et vers l' extérieur de la communauté de foi. [ABSTRACT FROM AUTHOR]

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Copyright of Trivium (2176-4891) is the property of Mestrado Profissional em Psicanalise, Saude e Sociedade da Universidade Veiga de Almeida and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

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

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

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

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

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

This paper explores Bion's theory of links, L, H, K (Love, Hate and Knowledge) and their minus counterparts, -L, -H, -K, which are not conceivable as simply opposite to or as a lack of L, H, K. Rather, they correspond to a way of experiencing Love, Hatred and Knowledge in terms of absoluteness, and in terms of a radical impossibility of acknowledging loss, relativeness and absence. The theory of links is also examined in its evolution towards the conceptualization of three types of container/contained configurations (commensal, symbiotic and parasitic). These Bionian models are compared and referred to the way Jung articulates the coexistence of 'good' and 'evil', and the paradoxical nature of mental functioning in relation to the individuation process. The images taken from the Rosarium Philosophorum, particularly the Fons Mercurialis, examined by Jung in 'The psychology of the transference' (1946), are explored in the paper. Theory is examined with a particular focus on the adolescent mind and its dramatic phenomenology. Two excerpts taken from the analytic work with a mid-adolescent female patient and a late-adolescent male patient are presented to describe minus-Hate as a form of absolute love, and minus-Love as a form of absolute hatred. [ABSTRACT FROM AUTHOR]

Le terme « parent hélicoptère » est aujourd’hui très présent dans les discours public et professionnel sur l’éducation des enfants, ainsi que dans la culture de façon plus générale, particulièrement en Amérique du Nord et au Royaume-Uni. Un petit nombre de travaux sociologiques ont mis en évidence le caractère paradoxal de ce phénomène, qui réside dans une inquiétude souvent exagérée envers l’investissement « excessif » de ces parents dits « hélicoptères » auprès de leurs enfants, au sein même d’une culture de la parentalité intensive. Cet article développe ces travaux de deux manières. Nous resituons d’abord l’utilisation désormais omniprésente du terme « parent hélicoptère » et les qualificatifs qui y sont associés en examinant ses antécédents discursifs dans la terminologie du XXe siècle — comme l’overparenting (surparentalité), le smothering (parent poule ou parent qui couve) ou le coddling (dorlotement) — et en soulignant leur coexistence avec les récits de « mauvaises mères », considérées comme distantes et non impliquées. Ensuite, en analysant l’utilisation du terme helicopter parent faite dans les médias britanniques depuis la fin du XXe siècle, nous analysons comment se construisent les préoccupations actuelles concernant le surinvestissement des parents dans l’éducation de leurs enfants. Nous avons observé que les thèmes les plus récurrents de la couverture médiatique concernaient l’amour parental qui a mal tourné (gone wrong), la pression parentale (parental pushiness), ainsi que la classe sociale du parent hélicoptère. Notre analyse suggère que l’expression « parent hélicoptère » peut être mieux comprise comme un aspect du langage vernaculaire du XXIe siècle qui exprime une certaine aversion envers les résultats perçus d’une parentalité intensive, mais qui laisse intactes les prémisses concernant la responsabilité parentale en matière de pathologies individuelles et sociales. Nous concluons que, pour les sociologues, une caractéristique importante du parent hélicoptère est qu’il est généralement perçu comme un parent « à problèmes » issu de la classe moyenne, et nous suggérons que cette construction de l’origine sociale des défaillances parentales est une question importante à prendre en considération à l’avenir dans les études sur la culture de la parentalité.

Malgré la prédominance de l’amour dans la vie quotidienne des personnes, on ne connaît pas ou peu de choses sur la manière effective dont l’amour s’impose aux individus dès leur plus jeune âge. Rien n’est dit ou presque de la genèse des sentiments amoureux, laissant ainsi la quasi-totalité de ce champ de recherche aux soins d’autres disciplines scientifiques qui ont tendance à naturaliser cette question. À partir d’une enquête de terrain d’un an réalisée auprès de parents et d’enfants, cet article s’attache à dépeindre les styles d’éducation sentimentale des familles et, plus précisément, leur contenu, leur administration et la façon dont ces derniers varient selon les propriétés sociales des parents. Nous mettons en évidence l’existence de plusieurs formes ou types d’éducation à l’amour qui se situent sur un continuum entre deux pôles idéaux typiques : le premier, la culture des sentiments, se caractérise par un intérêt et un investissement précoces des mères comme des pères pour la vie sentimentale des enfants ; le second est, quant à lui, davantage basé sur le « laisser-faire ». Les parents pensent que l’amour est quelque chose de naturel, qu’il s’agit d’un sentiment (adulte et féminin) qui ne s’apprend pas, mais s’expérimente. Il viendra au moment de l’adolescence et du développement des hormones. Ces différents styles d’éducation sentimentale ne se retrouvent pas au hasard des familles : ils sont socialement situés et dépendent principalement de la définition légitime de l’amour en vigueur dans un milieu social donné, et des normes de genre sur lesquelles elle repose.

Cadre de la recherche: Cet article traite des frontières symboliques, discursives et pratiques des relations intimes. Notre approche est inspirée par la théorie des systèmes de Niklas Luhmann. La « frontière » est conçue comme une opération de la relation par rapport à elle-même : la relation se définit elle-même par ses opérations communicatives et elle définit ainsi les attentes légitimes de ses membres. La relation existe alors en tant que frontière par ses opérations de communication, qui statuent directement ou indirectement sur ce qu’elle est et sur ce qu’elle n’est pas. Les symboles, les règles de sens et les références sémantiques sont des outils mobilisés dans le travail de frontière. Cependant, ces symboles ne définissent pas les façons de les utiliser dans ce travail. Objectifs: L’article vise deux objectifs principaux. Premièrement, en mobilisant en en définissant les concepts de « frontières » et de « travail de frontière », l’article offre des outils théoriques novateurs pour les recherches sur l’intimité. Deuxième, il montre l’utilité empirique de ce concept par la discussion d’exemples de son application à l’étude des formes et des processus de l’intimité en sciences sociales. Méthodologie: Ayant surtout une visée théorique, l’article procède par clarification conceptuelle et définition des notions de « frontières » et de « travail de frontière » en sciences sociales, pour ensuite discuter des applications de ce concept aux relations intimes, conjugales et familiales. Résultats: Les frontières des relations émergent de l’opérationnalisation de symboles, références sémantiques ou règles de sens dans la communication entre partenaires ou membres des relations. Les symboles mobilisés ne déterminent pas les modalités de leur opérationnalisation, ce qui impose d’observer directement les opérations du travail de frontière afin de les décrire et de les comprendre. Conclusions : Avoir exploré les fondements théoriques et empiriques du concept de frontières dans la sociologie des relations intimes, cet article documente la place centrale de la sémantique et du discours dans le travail de frontières qui définit les relations intimes. Il montre également comment le concept permet de saisir les opérations d’autodéfinition dont les relations mêmes ont besoin pour continuer à exister. Contribution : Cet article offre une synthèse des connaissances sur le concept de frontières et en montre le potentiel heuristique pour aborder les relations intimes, conjugales ou familiales. Les articles rassemblés dans ce numéro y contribuent également en montrant sa pertinence pour analyser une diversité de relations intimes, peu importe leur composition, leur durée ou leurs degrés de stabilité ou d’institutionnalisation.

La poésie des troubadours nous paraît souvent désincarnée. Le corps y cède la place soit au cœur soit à une personnification de l’amour qui nous paraît abstraite. Mais le cœur peut être de chair. Et l’amour, de genre féminin même au singulier dans l’ancienne langue, est souvent une désignation discrète de la femme aimée, qui lui est substituée comme référent du pronom personnel la. Réticences et prétéritions voilent moins le corps qu’ils n’excitent le désir dans une imagination fiévreuse de la nudité. Décrit avec gaillardise ou dissimulé avec effroi, le corps féminin, le corps aimé est gênant. Les troubadours ont parfois su dire cette gêne en ne la disant pas. L’audace de leur poésie est dans la timidité. « La plus belle qui jamais naquit nue », écrit Guilhem Adémar. Comment serait-elle née autrement que nue ? Mais comment l’imaginer nue autrement qu’à sa naissance ?

L’originalité de l’œuvre de césar Aira vient du caractère hybride de ses textes et de leur dimension profondément transgressive. Ses étranges romans sont autant de manifestes esthétiques, et des célébrations de l’imaginaire : c’est le cas d’Ema la captive et de la Guerre des gymnases. Les Nuits de Flores va plus loin encore sur la voie du brouillage des identités sexuelles, dans une sorte de frénésie qui allie le fantastique et la poésie. Aldo et Rosa, le couple transgenre des Nuits de Flores, évolue dans un récit à la fois crépusculaire et lumineux qui aboutit à un bel éloge de l’amour.