In face of the multiple controversies surrounding the DSM process in general and the development of DSM-5 in particular, we have organized a discussion around what we consider six essential questions in further work on the DSM. The six questions involve: 1) the nature of a mental disorder; 2) the definition of mental disorder; 3) the issue of whether, in the current state of psychiatric science, DSM-5 should assume a cautious, conservative posture or an assertive, transformative posture; 4) the role (...) of pragmatic considerations in the construction of DSM-5; 5) the issue of utility of the DSM - whether DSM-III and IV have been designed more for clinicians or researchers, and how this conflict should be dealt with in the new manual; and 6) the possibility and advisability, given all the problems with DSM-III and IV, of designing a different diagnostic system. Part 1 of this article took up the first two questions. Part 2 took up the second two questions. Part 3 now deals with Questions 5 & 6. Question 5 confronts the issue of utility, whether the manual design of DSM-III and IV favors clinicians or researchers, and what that means for DSM-5. Our final question, Question 6, takes up a concluding issue, whether the acknowledged problems with the earlier DSMs warrants a significant overhaul of DSM-5 and future manuals. As in Parts 1 & 2 of this article, the general introduction, as well as the introductions and conclusions for the specific questions, are written by James Phillips, and the responses to commentaries are written by Allen Frances. (shrink)
A child of the era of decolonization, Claire Denis grew up in various regions of France’s subSaharan colonial lands, and was brought back to the ‘métropole’ as a teenager in the 1960s.She has thus had a double practice of foreignness, abroad, and in her ‘own’ country, whichshe did not know and where, in similar yet fundamentally different ways than in Africa, shefelt like an outsider again. As the daughter of a colonial administrator – a childhoodbeautifully evoked in her first (...) feature, Chocolat – she had stood as a highly visibleembodiment of the Western presence on colonial soil. On her return to France, she wouldlive through the more banal experience of becoming an invisible intruder, an exile at‘home’– a theme explored in her subsequent works. From the start, Denisthus drew on her personal knowledge of feeling rootless to explore issues that haveremained at the heart of her filmmaking: the deeply perplexing questions of identity andalienation, assimilation and rejection, desire and fear inseparable from the post-colonialmalaise that affects France with particular acuteness. (shrink)
Claire Katz & Lara Trout, Emmanuel Levinas. Critical Assessments of Leading Philosophers ; Thomas Bedorf, Andreas Cremonini, Verfehlte Begegnung. Levinas und Sartre als philosophische Zeitgenossen ; Samuel Moyn, Origins of the Other: Emmanuel Levinas between Revelation and Ethics ; Pascal Delhom & Alfred Hirsch, Im Angesicht der Anderen. Levinas’ Philosophie des Politischen ; Sharon Todd, Learning from the other: Levinas, psychoanalysis and ethical possibilities in education ; Michel Henry, Le bonheur de Spinoza, suivi de: Etude sur le spinozisme de (...) Michel Henry, par Jean-Michel Longneaux ; Jean-François Lavigne, Husserl et la naissance de la phénoménologie. Des Recherches logiques aux Ideen: la genèse de l’idéalisme transcendantal phénoménologique ; Denis Seron, Objet et signification ; Dan Zahavi, Sara Heinämaa and Hans Ruin, Metaphysics, Facticity, Interpretation. Phenomenology in The Nordic Countries ; Dimitri Ginev, Entre anthropologie et herméneutique ; Magdalena Mărculescu-Cojocea, Critica metafizicii la Kant şi Heidegger. Problema subiectivităţii: raţiunea între autonomie şi deconstrucţie. (shrink)
On the young bride’s shoulder is a mauve bite mark: the outline of a mouth, a double arch,teeth marks, open jaws, lips raised up over hard enamel. Not the barely open lips of a kisson the skin; open, rather, as for a kiss on the mouth, but this time penetrating the skin: abristling kiss with the teeth bared, extreme – at the limit of the kiss, or beyond. A cruelkiss: a kiss of flesh . A young couple kisses in a (...) plane: the beginning ofthe film. Later we will see this icon, not knowing when it was imprinted, like a tattoo or abranding with the red hot iron of some ancient justice.What is a kiss? This is the question posed by Claire Denis’s film. Or rather: what isfucking?2It has long been accepted and repeated that kissing is a kind of devouring. Itbelongs to a core of imagery and metaphor that includes fairy tales , the fascination with cannibalism, the symbolism of Christian communion andthat of the lacerations of Dionysos, Osiris or Acteon, together with ghouls, striges andvampires, werewolves, incubi and succubi. This entire carnivorous breed is concealedwithin the film. It is recalled in its entirety, evoked by the gesture of Coré, the sick woman, standing on a bank, filmed from a low angle raising her coat aboveher shoulders to bring to mind for a moment the silhouette of Murnau’s Nosferatu.The vampire’s true formula is only revealed when one says ‘the kiss of the vampire’.That is what is at stake here, allowing for the fact that we are no longer in the era ofvampire stories: the kiss as vampire.It is not a question of any particular kiss, but rather that the kiss, in itself, opens on to the bite, and the taste of blood. And consequently it is a question of another wellknown coupling, that of Eros and Thanatos: not in a dialectic of opposites, but in a mutualexcitation and exasperation, each asking the other to go further, to go all the way to theend, to get completely lost. (shrink)
Throughout the twentieth century a significant tradition in French thought promoted a highly dramatized reading of the Hegelian struggle for recognition. In this tradition a violent struggle was regarded as an indispensable means to the realization of both individual and social ideals. The following article considers Claire Denis's film I Can't Sleep as an oblique challenge to this tradition. I Can't Sleep performs a careful dedramatization of an extremely violent story and thereby points to the possibility of an alternative (...) form of co-existence outside a logic of conflict. (shrink)
Claire Strom: Making Catfish Bait Out of Government Boys: The Fight Against Cattle Ticks and the Transformation of the Yeoman South Content Type Journal Article Pages 1-4 DOI 10.1007/s10806-010-9236-8 Authors Mark V. Juhasz, University of Guelph Rural Studies Programme, School of Environmental Design and Rural Development Guelph Ontario N1G 2W1 Canada Journal Journal of Agricultural and Environmental Ethics Online ISSN 1573-322X Print ISSN 1187-7863 Journal Volume Volume Journal Issue Volume.
« Les rythmes scolaires » avec Claire Leconte – le 16 mai 2013 de 15:30 à 16:00 sur France Culture. Claire Leconte est professeur émérite de psychologie de l'éducation et spécialiste des rythmes de l'enfant et de l'adolescent, chercheur au laboratoire Psitec de l'université de Lille3. C. Leconte, Des rythmes de vie aux rythmes scolaires : quelle histoire !, Lille, Presses Universitaires du Septentrion, (...) - Actualités.
Messud's The Woman Upstairs as a post-9/11 craft makes use of transnational characters to emphasize the hidden bigotry and hypocrisy in the current age. The dominance of feminine figures in The Woman Upstairs highlights the significance of 'Agonistic feminine identity' in the twenty-first century America that reflects how the interactions among women are socio-politically flavored. Messud’s feminine setting in The Woman Upstairs sketches out Nora as a woman who constructs her life in accordance with the socio-cultural norms her mother and (...) the society promote. Yet women’s friendship that bridges the sociocultural gap between women of the First World and women of the Third World reveals to be a fake friendship that covers the antagonisms. Thus, although multiraciality is constantly represented in Messud’s oeuvre, the tension against the ‘others’ who are to be neocolonially subjugated in the postcolonial America is symbolically represented through Messud's ‘Wonderland’. Decoding the sociocultural behavior of women in the twenty-first century America through Chantal Mouffe’s theory of agonistic pluralism, it can be concluded that a new form of feminine identity, that can be well labeled as 'agonistic feminine identity', is constructed in the twenty first century America due to traumatic events such as the 9/11. Hence, intolerance and revenge that is flooding between the two women of two different worlds is agonistically controlled through the construction of The Woman Upstairs. Messud's The Woman Upstairs as a post-9/11 craft makes use of transnational characters to emphasize the hidden bigotry and hypocrisy in the current age. The dominance of feminine figures in The Woman Upstairs highlights the significance of 'Agonistic feminine identity' in the twenty-first century America that reflects how the interactions among women are socio-politically flavored. Messud’s feminine setting in The Woman Upstairs sketches out Nora as a woman who constructs her life in accordance with the socio-cultural norms her mother and the society promote. Yet women’s friendship that bridges the sociocultural gap between women of the First World and women of the Third World reveals to be a fake friendship that covers the antagonisms. Thus, although multiraciality is constantly represented in Messud’s oeuvre, the tension against the ‘others’ who are to be neocolonially subjugated in the postcolonial America is symbolically represented through Messud's ‘Wonderland’. Decoding the sociocultural behavior of women in the twenty-first century America through Chantal Mouffe’s theory of agonistic pluralism, it can be concluded that a new form of feminine identity, that can be well labeled as 'agonistic feminine identity', is constructed in the twenty first century America due to traumatic events such as the 9/11. Hence, intolerance and revenge that is flooding between the two women of two different worlds is agonistically controlled through the construction of The Woman Upstairs. (shrink)
Body and image are crucial to the elaboration of both Jean-Luc Nancy’s philosophy andClaire Denis’s work in cinema. Nancy’s short book about the body, Corpus ,though it may initially have appeared as a minor work in his œuvre, has since been shown,and notably since the intervention of Jacques Derrida, as the cornerstone of much ofNancy’s late thought. As Derrida demonstrates, Nancy’s interest in the body turnsaround the crucial trope of touch which comes to stand, in his philosophy, as the marker (...) ofthe most fundamental limits that shape our understanding of and interaction with theworld: between inside and outside, subject and object, matter and meaning. As such, theconcept of touch frequently recurs in the discussion of art works, where the inscription of amaterial trace coincides with, or touches upon an evanescent sense. Nancy’s discussions ofartistic meaning have frequently centred around images – both painterly and filmic – asthe phenomena whereby the real, in manifesting its presence, is granted a certain sense.1Claire Denis, in common with the vast majority of live-action filmmakers, necessarily dealsin images and bodies – images of bodies – but her frequent refusal to provide thetraditional cinematic signifiers of psychological depth often means that the spectator isbrought up short before the strangeness of these bodies as bodies, which in turn opens upan interrogation as to the sense of her images. The mutual fascination that exists betweenNancy and Denis is well established, demonstrated by Nancy’s detailed, published engagements with Denis’s films – Beau travail , Trouble Every Day , L’Intrus – as well as by Denis’s short film portrait of the philosopher – Vers Nancy –and her cryptic appropriation of his text L’Intrus . But their engagement witheach other’s work appears in the image of Nancy’s somewhat abstract conception of touch:an approaching and withdrawing, a momentary proximity to the other that serves as muchto consolidate the stable identity of the one as it does to share in the identity of the other.Mirroring this intermittent relationship, this article will seek not to over-state theinterpenetration of the two œuvres, but merely to sketch some points of contact betweenthem, turning notably around the fascinating, but perhaps ultimately untouchable figureof the wound. (shrink)
Economic crisis emerges as a central feature of globalization and, in particular, of the structural instability of transnational capital circulation since the 1970s. The strategies of neoliberalism––deregulation, privatization, and expropriation of wealth toward the richer nations––redoubled the indebtedness of the global South and helped provoke debt crises in nations from Mexico in the 1980s and East Asia in the 1990s to Argentina, Iceland and Greece in the 2000s. Embedded as it almost always is within the global circuits of capitalist culture, (...) cinema has a particularly complex relationship to globalization: these economic shifts affect film funding, modes of production, and the institutions of international .. (shrink)