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Copyright of Revista Crítica de Ciências Sociais is the property of Centro de Estudos Sociais 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.)

Le récit-cadre des Mille et une nuits est composé d'un prologue et d'un épilogue (texte ZER) et soulève des problèmes lorsqu'il appartient à des versions lacunaires qui ne comportent que le prologue (texte G) ou l'épilogue (texte K). Ces problèmes ont été traités du point de vue philologique, rarement d'un point de vue littéraire. En partant d'une série de manques, au sens narratologique de ce terme, que l'on peut relever dans un discours du roi Šāhriyār dans le prologue de G, on va montrer ici comment ces manques sont comblés grâce à Šahrazād dans l'épilogue de K. Des compétences complémentaires, laïques et islamiques, ont été attribuées à l'héroïne pour réussir dans sa tâche: elle connaît la médecine et peut donc soigner le roi par la thérapie du récit en miroir et le guérir ; elle intervient par délégation divine, en réponse aux prières qu'une population qui souffre adresse à Dieu, et peut donc sermonner le roi à l'aide du ḥadīṯ et du Coran et le remettre sur le droit chemin. The frame tale of the Thousand and One Nights is composed of a prologue and an epilogue (ZER text) and raises problems when it belongs to lacunar versions which have only the prologue (G text) or the epilogue (K text). These problems were treated mainly from a philological point of view in the past, but rarely from a literary one. Starting from a series of gaps, in the narratological sense of this term, that can be found in a speech of king Šāhriyār in the prologue of G, it will be shown here how these gaps are filled by Šahrazād in the epilogue of K. Complementary skills, secular and Islamic, have been attributed to the heroine to succeed in her task: she knows medicine and can therefore treat the king through the therapy of the mirror story and heal him; she intervenes by divine delegation, in response to the prayers that a suffering population addresses to God, and can therefore admonish the king with the help of the ḥadīṯ and the Qurʾān and set him back on the right path. [ABSTRACT FROM AUTHOR]

Par le biais de cet entretien, la revue Langues & Cultures présente à la communauté scientifique la romancière et universitaire algérienne Pr. Lynda Chouiten. Se plaçant à mi-chemin entre écriture créative et recherche scientifique, l’auteure écrit les « lettres supérieures ». Il est question dans cet entretien d’interroger la poétique de son écriture, notamment à travers son roman Une Valse. Abstract Through this interview, the journal Langues & Cultures introduces the Algerian novelist and academic, Prof. Lynda Chouiten, to the scholarly community. Occupying a middle ground between creative writing and scientific research, the author writes "superior letters." This interview aims to explore the poetics of her writing, particularly through her novel "Une Valse" (A Waltz).

Pourquoi une question aussi fondamentale que celle du bon droit à penser autrement et de la survie en société, aussi essentielle pour nous tous en tant qu’individu que pour la sociologie en tant que ‘‘science’’, reste un mystère complet et un lieu de confrontation entre des théories opposées ? Ce sont des conceptions spéculatives de nature idéologique (religieuse, philosophique, politique ou sentimentale) qui se perçoivent en contradiction avec certains actes requis par des autorités amenant alors un refus d’obéissance d’accomplir et poussant à émettre l’objection de conscience. Dans ce texte, je compte prendre position contre des duplicités d’interprétation largement dispensées, voire des paradoxes et invraisemblances qui fournissent une approche systématique de la controverse.

Copyright of Revue Historique (0035-3264) is the property of Presses Universitaires de France 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.)

Secondarily healing surgical wounds can be treated with negative pressure dressings. Dressing changes can be painful due to the strong adherence of the polyurethane foam placed in the wound. After debridement and conditioning of the wound bed, secondary surgical wound closure with a surgical suture can be performed. Cutaneous negative pressure treatment is used preventively after primary surgical suturing. Descriptions for secondary wound closure without a surgical suture are not known to date. The preparation and handling of an innovative transparent dressing for the cutaneous application of negative pressure treatment is demonstrated. The dressing assembly consists of a transparent drainage film and a transparent occlusion film. Negative pressure is applied via a tubing connection using a negative pressure pump. A new method of secondary wound closure using the transparent negative pressure dressing is presented based on a case example. The treatment cycle with instructions for making the dressing is shown in a video. [ABSTRACT FROM AUTHOR]

This article approaches the resonances of maternal madness in the subjectivation of a daughter from a case study. We worked with life history and a dialogue was carried out with the subjectivation processes and self-care practices. Narrative interviews were thematically analyzed to organize the results: the resonances of maternal madness in the subjectivation processes; the self-care as a transforming horizon in the subjectivation processes; the work of subjectifying a transgenerational legacy; and the elaboration of the mother as a reference of motherhood. Among the results, the following stand out: the presence of ambivalent affections; the inconsistency of the maternal physical presence and psychic availability; and the development, on the part of the interviewee, of care practices aimed at herself and at the other. A trajectory marked by violence, issues of race, gender and class, social and economic difficulties that intensified the condition of psychic suffering. [ABSTRACT FROM AUTHOR]

Cet article propose d’aborder la folie royale dans la Estoria de España, chronique retraçant l’histoire de l’Espagne depuis les origines, rédigée à la fin du XIIIe siècle sous l’égide du roi de Castille et León, Alphonse X le Sage. Au Moyen Âge, le paradigme de la folie est clairement codifié et renvoie à un certain nombre de topiques, comme la maladie, le péché ou encore quelques attributs physiques spécifiques, qui peuvent concerner toutes les catégories de la population. Néanmoins, la figure royale est normalement exclue de ce paradigme, car la folie et tous les dérèglements qu’elle comporte porteraient atteinte à l’essence même de la royauté. À la rigueur, le roi peut être associé à d’autres formes d’inconduite assimilées à la folie, telles que le péché ou le châtiment divin, mais pas à la maladie mentale en tant que telle. Dans ce contexte, comment la Estoria de España, qui narre l’histoire de l’Espagne à travers ses rois, concilie-t-elle l’image de la folie de certains rois – particulièrement les empereurs romains – héritée de ses sources avec les conceptions du XIIIe siècle ? Après un rappel de la conception de la folie au Moyen Âge, j’analyse ses manifestations dans le code juridique des Siete Partidas et surtout dans la Estoria de España afin de pouvoir appréhender la représentation, le sens et la fonction de la folie dans la narration littéraire des faits historiques.

Após 21 anos da implementação da Lei 10.216, que sanciona a mudança do modelo de saúde manicomial para uma sociedade livre de manicômios, o Ministério da Saúde decretou, por meio da Portaria 596, de 22 de março de 2022, o Programa de Desinstitucionalização para a reinserção social de pessoas com transtornos mentais e/ou decorrentes do uso de álcool e outras drogas, em hospitais psiquiátricos. Metodologicamente, tomaremos as narrativas sobre a lógica manicomial, bem como o sistema psiquiátrico e as internações compulsórias, evidenciando as consequências das práticas comunicativas na construção de sentidos sobre a loucura e/ou desvios. Em que medida esse movimento acentua o avanço de um processo conservador, colocando em xeque a Reforma Psiquiátrica e as políticas púbicas de saúde, é o objeto da reflexão que desenvolveremos nas próximas páginas.

Résumé : Dans ses nombreux romans (Le baobab fou, Riwan ou le chemin de sable, La folie et la mort ou De l’autre côté du regard), Ken Bugul cherche à remettre en question et à déconstruire le modèle romanesque occidental, tant du point de vue scripturaire que thématique. En effet, La Folie et la mort, roman sur lequel nous mènerons notre étude, s’inscrit dans cette catégorie du roman africain contemporain à travers lequel la lauréate du Grand Prix Littéraire d’Afrique Noire, décerné en 1999 par le jury de l’ADFL, a forgé une renommée parmi les grands noms de la littérature africaine francophone et surtout parmi les auteurs du roman féminin en Afrique de l’Ouest. C’est un roman de rupture, au titre étrange et inquiétant qui marque un nouvel ordre dans la ligne esthétique et scripturale de l’écrivaine. Dans ce travail, nous analyserons, suivant une démarche sociocritique doublée d’une approche narratologique, les diverses manifestations de la folie : structures narratives éclatées et fragmentées, langues d’écriture subverties par les langues africaines, thématique nourrie par la folie… L’auteure sénégalaise a pris l’option de mettre en scène des personnages présentant des symptômes de la maladie mentale, qui sourd du fond de chaque personnage et qui rejaillit sur son entourage, sur ses relations avec les autres. Bref, ce texte plonge le lecteur dans un univers véritablement chaotique, tant dans son contenu que dans son esthétique.

Copyright of Polimery is the property of Industrial Chemistry Research Institute 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 article focuses on a story of education, mothering, disability and madness, with two aims in mind: * To reveal and to reflect upon the ways in which (m)others of dis/abled children are labelled as, and are made to feel, mad in their encounters with the psy-professions (education, psychology and psychiatry). * To explore the potential of digital storytelling as a method of writing back against dominant oppressive narratives of education, mothering and disability. This paper is written by mothers of adult offspring with disabilities about our experiences of raising our children. We write about our experiences of making a film about being mothers. We explain that we have all been told by professionals that our beliefs about our children and what is best for them are mad--that is, they are unreasonable or not to be trusted. In the paper, we reject this view and argue that our voices should be listened to. We hope that this story telling process can reveal the ways in which discourses of madness are used to oppress (m)others of dis/abled children in encounters in education. We also hope that we can begin to build narratives of resistance so that madness no longer becomes the discourse of choice in encounters between (m)others and practitioners. [ABSTRACT FROM AUTHOR]

The issue of madness, always present in the hot-tempered gods - Ares, Aphrodite, and Dionysus - has to do with what the ancient Greeks referred to as alterity. It was the Greeks who 'invented' this notion. What is otherness? It is, simply said, the extensive category of the Other. Let us examine a few aspects of the way this category is presented in mythical thinking in order to understand its place in psychology and madness. Alterity has to do with the Other, who is outside or inside me; ipseity is the possibility of remaining the same. This recognition has political, historical, ethical and, of course, psychological implications. And yet, it is archetypal, because that is where, as we will see, the issues of the sibling archetype fall. The sibling, as a primordial image in the soul, is present in the psychological evolution of each individual and each culture, and its influence inevitably projects itself into the history and construction of our connections with friends, companions, partners, associates, and colleagues - i.e. with all others, before confirmation is established in the soul that madness is other people. [ABSTRACT FROM AUTHOR]

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

Cet article expose le dépassement des paradigmes usuels du récit fantastique, tel qu'il s'est mis en place au XIXe siècle, à partir de fictions littéraires et cinématographiques contemporaines qui figurent l'articulation entre le double et la folie. L'article explore, dans un premier temps, l'assimilation traditionnelle du double au fantastique sous le signe de la pathologie mentale par la référence au roman Le Double (Dvoynik) de Dostoïevki. Il démontre ensuite, par une étude de La Méprise (Despair) de Nabokov, comment l'écriture de la duplicité et de la folie s'opère par une dissolution des paradigmes du fantastique suivant un jeu métafictionnel qui pose explicitement le double comme le produit d'une fiction. Par l'analyse comparée de deux productions cinématographiques récentes, Fight Club de Fincher et Black Swan d'Aronofsky, l'article révèle comment le dépassement du fantastique initié par Nabokov se voit prolongé dans des fictions contemporaines qui posent l'articulation entre double et folie sans plus avoir recours à la dimension d'étrangeté propre au genre fantastique. Cette dissolution du fantastique à l'époque contemporaine introduit des figurations protéiformes et saturantes de la duplicité qui appellent la mise à jour d'enjeux et cadres critiques désormais caducs. [ABSTRACT FROM AUTHOR]

Copyright of Contexto Revista Anual de Estudios Literarios is the property of Facultad de Medicina, Universidad de los Andes, Venezuela 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.)

Theatre as a form of mediation may be integrated in different ways in a psychiatric milieu, drawing on everyone's professional and personal history. Anne Rejony, actress turned nurse, presents her experience of the encounter with madness during the years when she was a practising professional in the theatre. She then explores different ways in which the tools of theatre may be brought into mental care. Valérie Pfohl and Lydie Elatré, a nurse and a day-care psychologist, present their encounter with the practise of theatre in a therapeutic workshop. This work in co-therapy with a drama-therapy actor leads them to redefine their stance towards care through the play of the self. At least, Karine Joguet, psychologist and drama therapist illustrates with a case, how the creative process in group allows unknown parts of self to be identified in a protective care frame. [ABSTRACT FROM AUTHOR]

Copyright of Recherches Feministes is the property of Groupe de Recherche et d'Echange Multidisciplinaires Feministes 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.)

I once wrote a statement to make clear that I didn't consent to involuntary injections. Against the institutional power that included the threat of increased force--at each encounter with the psychiatric nurse, security staff on the ready, week after week--I read aloud this statement asserting that my submission should in no way be understood as consent. At its end I explained that one day I would write and publish an essay titled "I Call This Institutionalized Rape." This is that essay. [ABSTRACT FROM AUTHOR]

The porous copper foam was sandwiched between two coppers plate and then brazed using copper‐tin (9.7 %)‐nickel (5.7 %)‐phosphorus (7 %) filler foil. Brazing process was conducted to joint copper/porous copper foam by evaluating the effect of porous copper foam pore densities [pore per inch (PPI)] and brazing holding times. The brazed joint interface of copper and porous copper foam was characterised using Field emission scanning electron microscopy and Energy‐dispersive x‐ray spectroscopy for the microstructure and elemental composition analysis, respectively. X‐ray diffraction analysis was carried out on the shear fractured surfaces of brazed copper and porous copper foam for phase determination. The results exhibited distinct phases of copper (Cu), copper phosphide (Cu3P), nickel phosphide (Ni3P), and copper compound with tin (6 : 5) (Cu6Sn5). The filler layer was formed as an island‐shaped that consists of copper phosphide and nickel phosphide. Prolong brazing holding time causes a thinner filler layer in brazing seam. While the non‐uniform thickness of the filler layer was observed at different pore densities of porous copper foam. The shear strength of brazed copper/porous copper foam 15 PPI with a 10 min brazing holding time yield a maximum shear strength of 2.9 MPa. [ABSTRACT FROM AUTHOR]

Copyright of Polimery is the property of Industrial Chemistry Research Institute 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 Anagnórisis: Revista de Investigación Teatral is the property of Anagnorisis: Revista de Investigacion Teatral 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.)

La tragique histoire de la « Séquestrée de Poitiers », qui a défrayé la chronique à la Belle Époque et connu un succès considérable, fascine les écrivains en leur offrant une matrice à la fois onirique et discursive. Un scénario digne du mélodrame : une jeune femme cloîtrée pendant vingt-cinq ans et qui croupit dans sa fange, est miraculeusement retrouvée dans une maison cossue de Poitiers. S’agit-il d’une victime, conduite à la déréliction par une famille oppressive ? Son cas sollicite le droit autant que la psychiatrie. Blanche Monnier constitue un archétype de schizophrène oscillant entre claustration forcée et confinement désiré. L’effroi que suscite la peinture de son hallucinatoire quarantaine spatiale invite à interroger nos propres représentations : la folie, l’enfermement, les postures sociales face à l’altérité, et au plus haut point le langage dans son incapacité à rendre compte de l’innommable. Figure déshumanisée, la jeune femme nous semble portée par une rêverie régressive vers la sanie et l’excrément. En cela elle met en abyme nos vertiges et la hantise d’une conscience qui sombre, mais dont seule la littérature pourrait porter la parole confuse, erratique et mystérieusement poétique.

This text aims to problematize the prominent place that the concentration camp occupies in the thought of the Italian philosopher Giorgio Agamben, specifically in the first works of Homo Sacer series. In this sense, we return to Michel Foucault's thought, namely in History of Madness, identifying the General Hospital and the large internment in the light of biopower and sovereign power notions. We also analyze how Agamben uses such concepts questioning the problematic space that the Italian philosopher grants to the mentally ill in Sovereign Power and the Naked Life and the consequences of such an option in the rest of his thought. We hope to demonstrate that a theory about biopower and tanatopolitics should have a broader scope in order to not omit other experiences of will. [ABSTRACT FROM AUTHOR]

In his Treatise on Laughter, containing its essences, its causes, and its marvellous effects (Paris, Nicolas Chesneau, 1579), the French physician Laurent Joubert joins two traditions of thought on laughter. The first, well known, stresses joy and jollity’s curative effects, as told by a fable of a comically cheeky monkey’s health-giving powers. The second, which comes after, sourced from Democritus, suggests rather that laughter is a sort of madness that may seize the laugher involuntarily. In other words, while Hippocratic theory teaches us that « laughter is the best medicine », others hold that it can also be the symptom of a serious moral and physical illness, which can even, and harmfully, upset bodily harmony. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Community Mental Health is the property of Canadian Periodical for Community Studies Inc. 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 e-Scripta 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 Revue Nerval is the property of Classiques Garnier 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.)

Dreams can be seen as a way of letting your mind wander while you're awake, an act of imagination that occurs during sleep, or a more or less chimerical imaginary representation of what you ardently hope for. In all three cases, it questions both our relationship with reality (what exists in itself) and with reality (what I perceive and understand of reality). From this point of view, dreams and madness are undeniably two experiences that radically question our access to reality., (Copyright © 2024 Elsevier Masson SAS. All rights reserved.)

Paris, dernier quart du XIXème siècle… Avec l’urbanisation accélérée de la capitale, l’augmentation massive de sa population, des anxiétés nouvelles se font jour. L’alcoolisme fait rage, les dégénérescences guettent. « N’y-a-t-il pas plus de fous aujourd’hui qu’autrefois ? », s’inquiète ainsi le Dr Paul Garnier dans sa Folie à Paris (1890). Il occupe une position stratégique pour répondre à la question : Garnier est le médecin-chef de l’Infirmerie Spéciale du dépôt de la Préfecture de Police, où sont transportés tous les insensés qu’on embarque sur les pavés de la capitale. Et la réponse est affirmative : l’entassement dans la cité de masses compactes et flottantes d’individus anonymes ferait éclore de nouvelles folies urbaines, jusqu’alors inconnues. La ville produirait donc de la folie, dont la psychiatrie observe, transcrit, identifie, et classe les discours. On pourrait en rester là, et n’y voir rien d’autre qu’un épisode classique de la longue histoire du contrôle des aliénés. Mais il y a une autre manière de lire ce tableau des misères urbaines dont les rapports psychiatriques consignent scrupuleusement les discours ; et d’y entendre les voix de ces égarés lorsqu’elles percent la surface du discours psychiatrique.

Les Lumières cherchent à libérer le monstre des différentes cages où la tradition l’avait enfermé. L’imaginaire européen du monstrueux se fraie, au XVIIIe siècle, un chemin nouveau grâce aux écrivains et aux peintres les plus géniaux. Goya est, de tous les artistes des Lumières crépusculaires, celui qui a su récupérer le mieux l’univers classique du monstrueux pour, ensuite, exceller dans une éclatante déclinaison des figures de la tératologie moderne, allant des plus perceptibles aux moins visibles: l’animal et ses variantes les plus domestiques et les plus obscures, l’homme et ses âges, l’individu et ses états sociaux, toutes ces figures quotidiennes, familières, dévoilent dans la galerie goyesque une monstruosité d’autant plus inquiétante qu’elle est en nous. Et de là, par la figuration symbolique, le peintre et graveur défie l'inavouable, l’irreprésentable, pour donner forme de monstre aux hantises, aux peurs les plus terribles de l’âme humaine.

Copyright of Thélème is the property of Universidad Complutense de Madrid 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 the inevitable pain that integration requires in our individuation process. The unspeakable agony we defended against in order to survive we now experience consciously, including moments of going out of existence at the core of our madness. Clinical examples are given of these 'extinction points' and the abject helplessness analysand and analyst suffer in the face of this destructiveness. The first and second witness to this process (usually the analyst and the psyche itself) and the primordial creative life force are recognized in the process of recovery, a recovery that recoups the blessings of our finite human living. [ABSTRACT FROM AUTHOR]

This study investigated the mechanical properties and biodegradability of polyvinyl alcohol (PVA) composite films. 3 wt.%, 5 wt.%, and 10 wt.% microcrystalline cellulose (MCC), commercial grade cellulose nanocrystals (NCCA), and nanocellulose (NCCB) extracted from oil palm fiber (OPF) were incorporated into polyvinyl alcohol by solvent casting. Field emission scanning electron microscopy (FESEM) images indicated that the average particle size of microcrystalline cellulose, commercial grade cellulose nanocrystals, and nanocellulose extracted from oil palm fiber are 12.63 μm±5.71 μm, 502.92 nm±196.10 nm, and 79.20 nm±11.69 nm, respectively. Nanofillers dispersed uniformly in polyvinyl alcohol matrix. Addition of microcrystalline cellulose up to 5 wt.% was able to improve the ultimate tensile strength (UTS) and yield strength of polyvinyl alcohol composite films but sacrificed the maximum elongation. Incorporation of 5 wt.% nanocellulose extracted from oil palm fiber is able to increase ultimate tensile strength, yield strength, and elastic modulus while maintaining the maximum elongation of polyvinyl alcohol composite films. Incorporation of commercial grade cellulose nanocrystals (up to 10 wt.%) increases ultimate tensile strength, yield strength, and maximum elongation while maintaining elastic modulus of polyvinyl alcohol composite films. Soil burial test result found that presence of moisture accelerated the degradation of the polyvinyl alcohol composite films drastically; the films were fully dissolved in the soil after 7 days. However, the weight of polyvinyl alcohol composite films did not change significantly after 28 days under controlled condition. This indicated that soil moisture is an important catalyst in biodegradation activity of polyvinyl alcohol composite films. Comparison with a commercially available biodegradable plastic bag (Bio‐PB) shows that the polyvinyl alcohol composite films developed in this study have superior mechanical performance and biodegradability, with potential to replace existing plastic bags. [ABSTRACT FROM AUTHOR]

Based on the "Ferenczi case", as identified in a text by his patient/analyst, Elizabeth Severn, this article presents and discusses three issues of contemporary psychoanalysis: a critique of the emphasis on diagnostic interpretation, especially when it is standardizing, the creation of intersubjective spaces in analysis and their potential dimension and the way that "madness", once shared, psychically mobilizes and allows relevant content to emerge in both the patient and the analyst. This article further discusses whether the possibility of adopting a non-normative position towards disruptive elements of the other's psyche could be the result, at least in part, of the analyst's ability to move between the fragments of his own psyche. [ABSTRACT FROM AUTHOR]

Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology 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.)

Multiple readings of madness are examined in Poulenc’s opera Dialogues des Carmélites (1957) through the framework of mad studies. Several layers of madness can be found in this work: individual lived experiences of madness, the history of mental illness in France during and aHer the French Revolution, and the cultural metaphor of hysteria as social degeneration, as articulated by Micale. Close readings of two scenes with a discussion of their musical features are included: the :rst prioress’s death (act 1, scene 4) and the :nal scene at the guillotine (act 3, scene 4) [ABSTRACT FROM AUTHOR]

Copyright of Cauriensia: Revista Anual de Ciencias Eclesiásticas is the property of Instituto Teologico San Pedro de Alcantara de Caceres 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.)