Journal articles on the topic 'Paraprases'

Teknik empat mallet sudah tidak asing lagi dalam dunia musik khususnya pada musik perkusi melodis ( definite ) seperti, marimba, vibraphone. Penjabaran dalam karya tulis ini adalah tentang penerapan teknik empat mallet pada lagu Tambourin Paraprase for Solo Marimba karya Keiko Abe.Penulisan tugas akhir ini bertujuan untuk memberikan informasi kepada masyarakat umum dan mahasiswa ISI Yogyakarta khususnya mengenai permainan marimba dengan menggunakan teknik empat mallet.Proses penerapan teknik empat mallet pada lagu Tambourin Paraprase for Solo Marimba menggunakan berbagai teknik seperti, tradisional roll, independen roll, shaft mallet, dead mallet dan termasuk dalam hal pemilihan mallet. Hal itu sangatlah penting karena justru dari teknik tersebut setiap karya musik khususnya marimba yang dimainkan hasilnya akan menjadi lebih baik dan lebih hidup. Four-mallet technique is no stranger to the world of music, especially the melodic percussion instruments (definite) such as, marimba, vibraphone. Elaboration in this paper is on the application of four-mallet technique on songs Tambourin Paraprase for Solo Marimba work Keiko Abe.This thesis aims to provide information to the general public and students of ISI in particular regarding the practicing marimba using four techniques mallet.Process application of techniques four mallet on track Tambourin Paraprase for Solo Marimba using various techniques such as traditional, roll, independent roll, shaft mallet, mallet dead and included in the selection mallet. It is important because precisely of these techniques every piece of music especially played marimba result will be better and more alive.KeywordsFour mallet technique; tambourine Paraphrase for Solo Marimba.

"The Parapraxis in The Bald Soprano: a Successful Speech. This paper is about Parapraxis in the Cantatrice chauve, which Ionesco associates with politics. The unconscious knowledge of the Cantatrice chauve (The Bald Soprano) is the knowledge of comedy and tragedy; it is a form of knowledge which leads man towards an empty word which can no longer be articulated in meaningful speech. The nagging antinomies of common life emerge in the background. There is an endless dialectic that crosses time and history, life and death, joy and pain. There is an unsolved conflict that the Cantatrice chauve holds together, thus repeating the trauma of separation and the breakdown of community ties. The tragedy of language is that you can only live in a subjective way. It is a communication which affirms the absence of communication, opening up the tragicomic horizon of language and disintegrating the power which underlies the language of communication. Keywords: parapraxis, speech, language, communication, knowledge, enigma. "

The Articulated Thoughts during Simulated Situations (ATSS) para digm for cognitive assessment may be useful for identifying gender schematic information processing. In a study of smoking relapse, several ex-smokers articulated thoughts indicating that they mistook the gender of audiotaped actors whose roles violated sex role stereotypes. The same speakers were never misidentified when portraying more traditional roles. Discussion focused on (a) the possible utility of this finding for research on Gender Schema Theory, and (b) the value of open-ended cognitive assessment methods such as ATSS for enhancing the likelihood of serendipitous findings.

Human rights law draws its legitimacy from the distinctiveness of the cultures that comprise the world community. Yet its intrinsic respect for cross-cultural difference does not condemn it to an intractable relativism. Even if significant cross-cultural disagreement about the meaning of specific rights is likely to persist, such disagreement takes place within a legal and normative framework that already presupposes a fundamental universality of human rights. Many relativist critiques contain nothing specific about human rights. Rather, they amount to little more than indictments of law, indeed of all normative thinking, as such. Others arise from conceptual misunderstandings and imprecise use of terms. Although the universality of human rights will remain controversial for the foreseeable future, its normative basis is more secure than its relativist critics would suggest.

The digital divide is defined as the distance between those individuals and communities that have access to digital resources such as high-speed internet and user-friendly, sophisticated computing interfaces and those that lack such resources. If empathy is understood as being fully present with another person without judgment, evaluation, or anything else added, then being present in the same physical space (such as a therapist's office) is arguably the optimum approach. Yet the genie is out of the bottle. This article engages with new forms of countertransference, parapraxes (slips), and breakdowns in empathy occasioned by taking psychodynamic therapy online including the advantages and disadvantages, the trade-offs, of each approach. It is just as misguided to require therapists exclusively to perform in-person therapy as it would be for everyone exclusively to perform online therapy. There is no turning back the clock.

La instalación From the Freud Museum (1991-1996), de la artista Susan Hiller (1940-2019), realizada como homenaje crítico al padre del psicoanálisis, es el objeto de este texto. La obra se describe y se analiza, de modo genérico, desde una perspectiva conceptual, a la vez que es considerada en su relación con Sigmund Freud y con varios conceptos del psicoanálisis, tales como el inconsciente, la asociación libre, el contenido manifiesto y latente y la represión. Por último se presentan y comentan tres cajas específicas de la instalación, en relación con los conceptos freudianos de lo cómico, las parapraxis y lo siniestro.

Secara geografis Indonesia merupakan negara yang berada di wilayah garis khatulistiwa, tentunya menyebabkan Indonesia beriklim tropis. Keadaan ini cukup berpengaruh dalam kehidupan sehari- hari salah satunya dalam kegiatan belajar mengajar, kenyamanan thermal, visual serta akustik sangat diperlukan agar kegiatan tersebut berjalan dengan lancar. Maka dari itu penerapan arsitektur tropis pada bangunan pendidikan sangat diperlukan. Karakteristik bangunan tropis seperti orientasi massa bangunan, lahan terbuka hijau, material bangunan yang digunakan, secondary skin dan overstek yang tahan terhadap radiasi sinar matahari serta curah hujan yang lebat memberikan jawaban yang cukup tepat. Menara Phinisi yang berada di kampus Universitas Negeri Makassar merupakan objek yang akan diteliti secara kualitatif deskriptif yang diambil dari beberapa jurnal, buku serta literatur dari yang ada lalu di paraprase ulang, bagaimana konsep penerapannya serta bertujuan untuk mengetahui apa saja prinsip-prinsip arsitektur tropis pada bangunan pendidikan tersebut. Jadi hasil penelitian mendapatkan bahwa yang menjadi prinsip-prinsip arsitektur tropis adalah kenyamanan thermal, sirkulasi udara, penerangan alami pada siang hari dan pelindung dari radiasi sinar matahari dan hujan lebat yang terdapat pada studi kasus menara Phinisi.

Më 2007 dhe 2008, në Tiranë dolën në Institutin e Gjuhësisë dhe e Letërsisë së Akademisë së Shkencave të Shqipërisë dy vëllimet e para të Atlasit gjuhësor shqiptar1, vepër e një grupi profesorësh të Universitetit të Tiranës: Jorgji Gjinari, Bahri Beci, Gjovalin Shkurtaj dhe Xheladin Gosturani; bashkëpunuan Anastas Dodi dhe Menella Totoni. Bashkërenditjen e punës përgatitore të nevojshme në përpunimin e një atlasi gjuhësor e siguroi J. Gjinari. Ai është, gjithashtu, autori i një hyrjeje me të dhëna të bollshme. Ky studim (botuar shqip dhe italisht) vë në dukje problemet e përgjithshme të dialektologjisë shqiptare, jep njohuri mbi historinë paraprake të kërkimeve për kryerjen e Atlasit, si edhe mbi përgatitjen dhe organizimin e hulumtimeve, mbi klasifikimin e materialit dhe redaktimin e hartave. Në të vërtetë, Atlasi hapet me një Parathënie të Mahir Domit, albanolog i brezit më të vjetër, që përkrahu gjithmonë, që nga mesi të shekullit të kaluar, ashtu si Eqrem Çabej dhe Al. Xhuvani, përpjekjen e gjuhëtarëve të rinj për të vëzhguar gjithë krahinat dialektore të vendit.

Me këtë analizë u përpoqëm që të paraqesim të dhënat kryesore të ndryshimeve të bëra në sistemin arsimor në periudhën 2000-2010. Reformimi i sistemit arsimor në Kosovë filloi me objektiv të caktuar, që të zë hapat me sistemet arsimore të përparuara. Mund të themi se nisja e reformimit të sistemit arsimor në Kosovë u bë në shpejtësi dhe pa përgatitje paraprake të mirëfillta dhe të domosdoshme për t’i hyrë një procesi të këtillë shumë kompleks. Sistemi arsimor, sikurse akëcili sistem qoftë, duhet të mbështetet mbi bazën e sistemit arsimor ekzistues, duke bërë ndërhyrje e ndryshime në segmentet jofunksionale, ose të tejkaluara të tij. Ndryshimet u bënë duke u munduar sadopak t’i përshtaten kushteve dhe mundësive në vendin tonë. Përmirësimi dhe avancimi i vazhdueshëm i sistemit arsimor është i domosdoshëm që të bëhet në vazhdimësi, për faktin se ndryshimet në vazhdimësi ndodhin në vetë shoqërinë njerëzore, pa të cilat as sistemi arsimor nuk do të kishte kuptim. Procese të këtilla në sistemet arsimore ndodhin në të gjitha vendet e botës, sidomos në vendet në tranzicion, siç është Kosova, ku objekt reformimi dhe ndryshimi janë të gjitha segmentet e sistemit.

"Cinema, Theatre and Psychoanalysis: the Problem of Parapraxis and its Representation. At the intersection of the performing arts and psychoanalysis emerges the notion of act. This polysemic term has various meanings: missed act, agieren, psychoanalytic act, acting out, act of creation. If Freud and Lacan have theorized the notion of act, cinema and theater strive to represent its many facets. Today, Freud’s method of analyzing dream images has paved the way for figural analysis for the 7th art, focusing on exploring the incomplete dimension of some of his images. From La marquise d’O to the Mystères de Lisbonne, the altered quotation from the same painting, The nightmare of Füssli, which reveals the emergence of desire, comes to symbolize the representation of the Other Scene by cinema. Généalogies d’un crime, by Raoul Ruiz, shows how the interpretation and manipulation of missed acts leads, ironically, to the Act. The influence of the psychodrama exerted there is found in other films, where the scene becomes the place where the abreaction becomes visible. Repetition of a formula in the obscure and forgotten sense (8 and ½), a crisis orchestrated by Sade as a playmaker (Marat-Sade), or a collective explosion (La vie est un roman) show the complex and multiple faces of the Act in cinema. Keywords: Fehlleistung, Agieren, Psychoanalytic Act, Psychodrama, Unconscious, Enigma, Theater, Cinema. "

There is much scholarship on the linkages between Afrikaner nationalism and South African (Afrikaans-language) filmmaking. Within the context of a sustained post-apartheid renegotiation of Afrikaans or Afrikaner nationalism in the popular imagination, in this article we argue that two feature film historical dramas from the production company Bosbok Ses Films, Stuur groete aan Mannetjies Roux (2013) and Verraaiers (2013), resonate thematically and aesthetically with Thomas Elsaesser’s notion of post-heroic cinema. While a number of pre-1994 Afrikaans-language films celebrated Afrikaner nationalism as personified in the figure of the hero, this article positions and uses Elsaesser’s post-heroism as a critical lens through which to demonstrate the ways in which these two films call attention to a post-hero whose actions and behaviour (often inadvertently) renders a productive renegotiating of the hero figure within a post-apartheid cinematic context. To supplement Elsaesser, we also draw on Johan Degenaar’s writing on political pluralism. In this article, we find that an Elsaesserian post-heroic approach to the two films allows the following constitutive components of post-heroic cinema to surface: atemporality as opposed to linear narrative time, parapraxis (productive failure) as opposed to traditional iterations of heroic acts and valour, and conceiving of the film screen as a surface in flux as opposed to the screen as a mirror. The article’s contribution to existing scholarship on contemporary Afrikaans-language cinema is three-fold: it is the first to utilise an Elsaesserian approach to Afrikaans film and as such to foreground and investigate the figure of the post-hero, it provides a critical account of two independently-made feature films that remain under-researched in current South African film scholarship, and it contributes to discourse around the ways in which popular media inform and respond to the renegotiation of Afrikaans (or Afrikaans) identity.

Abstract Extra Medullary Hematopoiesis refers to the presence of hemopoietic elements in locations other than the bone marrow medullary space,It may be seen in many conditions, including chronic hemolytic anemias like thalassemia Intermedia or major. The common sites of involvement are the liver, spleen and the lymph nodes. Less common sites include the central nervous system, adrenal gland, kidney, perirenal soft tissues, breast, peritoneum and gastrointestinal tract the paraspinal region is a relatively uncommon location for these hemopoietic deposits. There are a few case reports of EMH occurring in the spineMost cases have been reported in connection with thalassemia, although it has also been described in patients with sickle cell anemia, polycythemia vera ,myelodysplastic syndrome and myelofibrosis. To the best of our knowledge, there are very few documented case reports in the literature of patients with myelofibrosis who developed cord compressive symptoms due to EMH in the spine from 1958 till 2016 only 15 cases were reported, In reported cases male to female ratio 7:1 with age range between 30 and 75 year old Paraprasesis are the most common presenting symptoms Thoracic region is the most affected site The degree of anemia and bone marrow fibrosis does not correlate with the occurrence of EMH since it was reported in cases with early fibrosis or mild anemia. Correlation between molecular markers like JAK2 and CALR, MPL is not described No definite guidelines have as yet been formulated for the treatment of such patients with EMH. Excision and decompression, radiotherapy, hypertransfusion and hydroxyurea alone or in combination have been proposed as well as lack of consensus about what is complete remission is it clinical or clinical and radiological and what is partial response is it any reduction of the mass lesion or any degree of clinical improvement in conclusion there is necessity to establish consensus for treatment and definition of CR, PR or No response in EMH with MF. Disclosures No relevant conflicts of interest to declare.

Abstract Extramedullary Hematopoisis refers to the presence of hemopoietic elements in locations other than the bone marrow medullary space, it may be seen in many conditions, including chronic hemolytic anemias like thalassemia Intermedia or major. The common sites of involvement are the liver, spleen and the lymph nodes. Less common sites include the central nervous system, adrenal gland, kidney, perirenal soft tissues, breast, peritoneum and gastrointestinal tract the paraspinal region is a relatively uncommon location for these hemopoietic deposits. There are a few case reports of EMH occurring in the spineMost cases have been reported in connection with thalassemia, although it has also been described in patients with sickle cell anemia,myelodysplastic syndrome and myelofibrosis. To the best of our knowledge, there are very few documented case reports in the literature of patients with polycythemia vera and Extra medullary Hemayopoiesis.The reported cases are limited in this regard only 11 cases were reported from 1979 till 2015, Paraprasesis is the most common presenting symptom, Age between 30 to 75 year with Male to female 6:1,Thoracic region is most affected site Most cases treated by surgery ,radiotherapy or both Poorer outcome compared to MF cases Overall the mortality in EMH with polycythemia vera is higher than MF and thalassemia, some of them due to fatal location of cord compression (cervical) No definite guidelines have as yet been formulated for the treatment of such patients with EMH. Excision and decompression, radiotherapy, hypertransfusion and hydroxyurea alone or in combination have been proposed as well as lack of consensus about what is complete remission is it clinical or clinical and radiological and what is partial response is it any reduction of the mass lesion or any degree of clinical improvement in conclusion there is necessity to establish consus for treatment and definition of CR ,PR or No response in EMH with polycythemia vera. Disclosures No relevant conflicts of interest to declare.

Hulumtimi “Përfshirja e nxënësve me nevoja të veçanta arsimore në shkollat profesionale publike në Kosovë’’ ka për qëllim të identifikojë nivelin e mbështetjes për përfshirje të nxënësve me nevoja të veçanta arsimore në shkollat profesionale publike në Kosovë. Hulumtimi ka qasje të përzier: sasiore dhe cilësore, është përshkrues dhe krahasues. Popullacioni i hulumtimit janë shkollat profesionale publike në Kosovë, ndërsa mostra e hulumtimit janë 16 shkolla (23.5 % të popullatës) në komuna të ndryshme, nga të gjitha rajonet e Kosovës, të cilat kanë përfshirë nxënës me nevoja të veçanta arsimore. Respondentë të hulumtimit janë: zyrtarë të drejtorive komunale të arsimit, drejtorët e shkollave dhe shërbyesit profesionalë, mësimdhënësit dhe nxënësit me nevoja të veçanta arsimore. Nga ta, janë mbledhur të dhëna përmes intervistave të gjysmëstrukturuara, me pyetësorë të përgatitur dhe të përshtatur për secilin grup të respondentëve, me qëllim të identifikimit sa më të saktë të gjendjes rreth mbështetjes që iu ofrohet nxënësve me nevoja të veçanta arsimore në këtë nivel të arsimit. Instrumentet e hulumtimit janë realizuar në terren gjatë periudhës mars 2020 dhe mars- maj 2021. Të dhënat janë analizuar përmes metodave statistikore dhe cilësore. Rezultatet e hulumtimit janë interpretuar dhe analizuar, duke nxjerrë përfundime dhe rekomandime konkrete për aktorët relevantë në këtë proces. Gjetjet e hulumtimit tregojnë se numri i nxënësve me NVA të përfshirë në shkollat profesionale publike në Kosovë nuk është në trendin e rritjes, duke krahasuar atë me 3-4 vjet më parë, përkundrazi, ka rënie të numrit të nxënësve të përfshirë – krahasuar me numrin e nxënësve të cilët përfundojnë arsimin e mesëm të ulët. Po ashtu, nuk bëhet ndonjë vlerësim paraprak për mundësitë dhe aftësitë e nxënësve për orientim profesional në profilet më të përshtatshme dhe, me përjashtim të 2-3 komunave, mbështetja plotësisht mungon, ose është në nivelin më të ulët. Madje, në 3 komuna, në shkollat profesionale nuk ka asnjë nxënës të përfshirë, edhe pse kishin përvoja të përfshirjes në vitet paraprake, ndërsa, në anën tjetër, kishte nxënës me nevoja të veçanta arsimore, të cilët e kanë përfunduar klasën e 9-të dhe nuk e vazhdojnë shkollimin.

Qëllimi kryesor i analizës për edukimin parashkollor në Kosovë është të bëhet një reflektim përmbledhës për zhvillimet në këtë nivel të edukimit, me theks të veçantë përfshirjen e fëmijëve në edukim parashkollor dhe sfidat me të cilat ballafaqohet edukimi parashkollor. Në pjesën e parë të kësaj analize është bërë një reflektim për kornizën ligjore me të cilën funksionon edukimi parashkollor në Kosovë, pra, ligjet që rregullojnë edukimin parashkollor, standardet, kurrikulat etj. Analiza në këtë pjesë konstaton se edukimi parashkollor në Kosovë është i rregulluar me Ligjin për edukimin parashkollor, nr. 02/L-52, 2006, dhe bazuar në këtë ligj janë hartuar Standardet e përgjithshme dhe Kurrikuli për moshën 3-6 vjeç, por mungojnë Standardet dhe Kurrikuli për moshën 0-3 vjeç. Në pjesën e dytë është bërë analizë për përfshirjen e fëmijëve në edukim parashkollor në Kosovë gjatë viteve 2008-2011 dhe përqindjen e fëmijëve që shkojnë në klasë të parë pa përgatitje paraprake. Krahasimi i zhvillimeve në edukimin parashkollor në Kosovë, me zhvillimet në edukimin parashkollor në Shqipëri dhe në Maqedoni, tregon se edukimi parashkollor te ne ndryshon edhe sa i përket ligjit, por edhe nivelit të përfshirjes së fëmijëve në edukim parashkollor. (Janë marrë këto dy shtete të rajonit për krahasim, për arsye se niveli i edukimit parashkollor është më i krahasueshëm me nivelin e edukimit te ne). Analiza në këtë pjesë konstaton se përfshirja e fëmijëve në edukim parashkollor në Kosovë është shumë e ulët, nën nivelin e përfshirjes në Shqipëri dhe në Maqedoni. Në pjesën e tretë është bërë një prezantim i sfidave me të cilat ballafaqohet edukimi parashkollor në Kosovë dhe mundësia e tejkalimit të këtyre sfidave. Sfida kryesore e edukimit parashkollor në Kosovë është përfshirja e ulët e fëmijëve në edukim parashkollor/ parafillor. Edukimi parashkollor i institucionalizuar është hallka e parë e sistemit arsimor dhe zhvillimi i edukimit parashkollor është bazament i rrugës për arsimim të mëtutjeshëm. Prandaj, duke u bazuar në këtë analizë që Kosovën e radhit në rangun më të ulët të përfshirjes së fëmijëve në edukim parashkollor, mund të konkludojmë se është nevojë e shoqërisë që edukimit parashkollor t’i jepet mbështetja dhe përkrahja që e meriton, si nga MASHT-i, nga komunat, nga organizatat që merren me edukim dhe nga komuniteti, që të trasojmë rrugën për edukim dhe arsimim të mirëfilltë për gjeneratat e reja.

Në përpjekjet e vazhdueshme të rilindasve, çështja e mësimit të gjuhës amtare nuk kaloi në asnjë rast në plan të dytë. Për të ishin të interesuar si esnafët dhe tregtarët, ashtu edhe vegjëlia. Në vitin 1901, gazeta e mirënjohur “Drita” e Sofjes shkruante: “Sot në Dibër të Madhe, në të Voglën, Mat, Rekë e malësi kemi shumë zotër pleq të ndershëm që përpiqen për paravajtjen e gjuhës shqipe. Sot i madh e i vogël thërrasin: Me gjuhë ruhet mëmëdheu, me shkolla mirësohet kombi”. Kongresi i Dibrës u hap me 24 korrik 1909. Pritja dhe përcjellja e delegatëve “qe bam madhështore prej dibranëve. Nji milici e përbame prej 500 djelmoshash dibranë dhe të mveshun me kostum kombëtar, u paraqiste delegatëve nderimet e rasës. Flamurtari i kësaj ushtrie ishte Riza Beg Mazbegu, nji burrë me shtat viganësh që ia ngopte kërshërinë atij që e kishte marrë malli për burrat e motshëm ilirianë. Rreth flamurit ishin njëzet trima me fustane të bardha si vdora, mbas tyne vijshin tridhjetë të tjerë të mveshun me dollama të qendisuna kuq e zi, mandej ishin rradhitë dyzet djem me xhamadana pjesërisht me argjend e flori, nga ari e mëndafsh kuq e zi, që stoliste petkat shpërthejshin nën rrezet e diellit duj ari e ngjyrash shkëlqyese”. Kongresi i Dibrës i mbledhur në fillim të shekullit të 20-të mori vendime të rëndësishme, sepse kërkesat autonomiste ishin kryesoret. Me organizimin e këtij kongresi, Dibrës së Madhe iu pasurua biografia e saj atdhetare e kombëtare. Ditën e premte, me 10 korrik 1325 (23 korrik 1909), sipas programit, në orën 12, Ismail Beu (kryesonte delegacionin e Dibrës), që po fliste, pa pritur bie në tokë i vdekur. Gjithë gëzimi i festës u kthye në hidhërimin e mortjes. Po atë mbrëmje u krye ceremonia funerale. “...Kur u nis kortezhi nga pallati i tij, në këtë rast e motra tha: Vllazën! Asht e vërtetë se ne hunbëm vllanë t’onë të dashtun, por Atdheu qi asht mama jonë asht ma i dashtun se çdo gja tjetër. Zaten edhe i ndjeri pat ardh këtu për t’i ba nji shërbim Atdheut, mos e leni mbrapa veprën qi kemi nisë, me këto lot që dalin prej syve, pres nga ju punë të dobishme për Atdhe”!. Nga ana tjetër, puthadoras të ish- partisë moniste, ndryshuan e tjetërsuan faktet historike duke enënvlerësuar rëndësinë e Kongresit të Dibrës. Kjo, ngaqë u organizua nga xhonturqit dhe nuk qenka vepër e shqiptarëve, të cilët realisht i dhanë tonin dhe drejtimin punimeve të tij, në dobi të çështjeve kombëtare, si edhe për mësimin dhe përhapjen e gjuhës shqipe, sepse në Manastir kishin mbetur në fuqi dy alfabete. Po citojmë tekstualisht nga studimi shkencor “Katër kongreset kombëtare për alfabetin e shqipes”. Në këto refleksione e thellime, jepen fakte konkrete. Vendimet e Kongresit të Dibrës Në Kongresin e Dibrës u morën dy lloj vendimesh, mbledhë në qytetin e Dibrës së Sipërme me datë 10 korrik 1325 (23 korrik 1909) 1. Nenet paraprake bashkimore. Këto ishin pesë nene, që i propozuan xhonturqit. Në to tregohet për gatishmërinë e shqiptarëve, të cilët kur të bëhej thirrja nën armë, të ishin të gatshëm të mbronin perandorinë. 2. Nenet sekondare të nevojshme, që u vendosën me këmbënguljen e vendosmërinë e delegatëve shqiptarë. Kongresi i Dibrës ishte i pari i këtij lloji me përmasa madhështore, ku u mblodh tërë vendi. Kongresi i Dibrës i mbledhur në fillim të shekullit XX mori vendime të rëndësishme, sepse kërkesat autonomiste ishin kryesoret. Me organizimin e këtij kongresi, Dibrës së Madhe iu pasurua biografia e saj atdhetare e kombëtare. Për punimet e Kongresit të Dibrës dhe kërkesat e tij politike u shkrua gjerësisht në shtypin patriotik brenda dhe jashtë vendit. Ai është pasqyruar edhe në fletoren “Lirija” të Lumo Skëndos, ku jepet fjala e Abdyl Ypit në një konferencë që organizoi ky deputet. Aty shkruhet: “Pa dyshim fare, Kongresi i Dibrës, quhet e para mbledhje kombëtare në Shqipëri, e para mbledhje ku u thirr e tërë Shqipëria të jetë takuar për të zgjidhur një punë të nevojshme për tërë vendin. Gjer më sot mbledhjet dhe kuvendet s’kanë qenë të rralla në Shqipëri për çdo gjë me rëndësi, malësija dhe bajraktarët e kanë pasur zakon të pshtillen tok e të kqyrin si do zgjidhur puna. Po Kongresi i Dibrës, ku ma tepër se 300 delegatë gegë, toskë, musliman, të krishterë, ortodoksë, katolikë, hoxhallarë, priftërinjë, shehelerë të ardhur nga çdo çip e nga çdo kënd i Shqipërisë, ky kongres themi është i pari që ka mbledhur të tërë vendin t’ënë. Nuk them të bëjmë histori të gjatë të Kongresit, kemi shpresë që protolollet të shtypen dhe kushdo do mundinj t’i këndojë. Po si pamë pa dyshim fare, Kongresi u ba një fitim i madh për vendin dhe për kombin t’ënë, se vendimet u bënë me të vërtetë pas nevojave tona. Më i madh i fitimeve është se mbledhja dëften famëza dëshirën e shqiptarëve për rojtje të urtë dhe pak jetë të gjytetëruar, se kongresa nuk mejtoj vetëm ditën e sotme, nevojat e tanishme, por vrejti edhe kohën që do të vijë”.

IntroductionFreud proposed that slips of the tongue, including apparently simple ones, always have a sense and constitute « a half-success and a half-failure » compromise resulting from defensive mechanisms.Material and methodsA total of 55 subjects participated in a French adaptation of the Spoonerisms of Laboratory Induced Predisposition or SLIP-technique including 32 “neutral” and 32 taboo spoonerisms and measures of defensiveness. In accordance with a psychoanalytical and empirically supported distinction, we considered two kinds of defenses: elaborative or primary process and inhibitory or secondary process defenses, which were operationalized with the GeoCat and the Phonological-Nothing (PN) WordList, respectively. The GeoCat is a validated measure of primary process mentation and the PN WordList was shown to measure the defensive avoidance of language ambiguity.ResultsParticipants produced 37 slips, with no significant difference in the number of “neutral” and taboo slips. The GeoCat and the N/PN parameters explained 30% of the variance in the production of parapraxes, confirming the defensive logics of slips. When dividing the population into lowly and highly defensive participants (with the Marlowe Crowne Social Desirability scale), primary process mentation appears as a baseline default defense, but only highly defensive participants mobilize an additional inhibitory secondary process type of defense. Taking into account the a priori difference between taboo and “neutral” parapraxes, highly defensive participants made 2.7 times more taboo parapraxes than lowly defensive participants. However, if “neutral” parapraxes in both subgroups followed the same logic as the total group of parapraxes (significant contribution of primary process mentation in lowly defensives and of primary and secondary process mentation in highly defensives), these measures had no contribution to explain the occurrence of taboo parapraxes.ConclusionWe propose that Motley et al.’s prearticulatory editor, ensuring the censorship over taboo parapraxes, is an external instance of inhibition, proximal to uttering, equivalent to the censorship between the systems Preconscious and Conscious in Freud’s metapsychology. By contrast, the defenses measured in this research are internal, intimate control systems, probing for the censorship between the systems Unconscious and Preconscious, this is, for repression. This study contributes to support a psychodynamic explanatory model for the production of parapraxes.

The purpose of this paper is to use the psychoanalytic understanding of parapraxes to explore the meaning of apparent errors of memory made by Adolf Hitler in speeches ‘prophesying’ the destruction of European Jews. Because historians have suggested the likelihood that these errors were deliberate, the concept of intentional parapraxes is explored and utilized. Whether deliberate or not Hitler’s errors, it is argued, were a product of a psychological conflict between the wish to take public credit for the mass murder of Jews and the need to keep these crimes secret.

The article focuses on the Italian cinema in building collective memory in post-war transitional phase. It tackles neorealist humanism and descriptive style, together with its obliteration of Fascism. These features contribute to ‘cultural trauma’: a symbolic activity reshaping collective identity. Finally, the article scrutinizes non-fiction works representing a contested area, in political and historical terms: Trieste. This final pace sheds light on the degree of diffusion of cultural trauma and clarifies how the concealment of Fascism operated as parapraxis.

Artikulli synon të jetë si hyrje e shkurtër në studimet rrethmarrëdhënieve ndërmjet shqiptarëve dhe Republikës së Raguzës gjatëperiudhës osmane. Në artikull trajtohen shkrime të botuara ngaautorë të ndryshëm, të cilat kanë një rëndësi të veçantë në lidhje mehistorinë e marrëdhënieve ndërmjet Republikës së Raguzës dheshqiptarëve kryesisht gjatë shek. XVI-XVIII. Artikulli paraqet disarezultate paraprake në lidhje me kërkimin, gjurmimin dhe gjetjenqoftë të dokumenteve, qoftë të punimeve të ndryshme. Këtu poparaqesim disa autorë të rëndësishëm të kësaj teme studimore, pjesamë e madhe e këtyre studiuesve janë sllavë, kryesisht kroatë. Ndëremrat e rëndësishëm të këtyre studiuesve mund të përmendim JosipLuetić, Vuk Vinaver, Bogomil Hrabak, Vinko Ivančević etj. Në artikullsynohet të jepen qasjet kryesore që autorët në fjalë i bëjnë kësaj temenë këta artikuj.

The Gothic genre became most popular in the late 18th century with the publication of Horace Walpole’s The Castle of Otranto in 1764. Since then, it has been a well-established literary genre. The presence of supernaturalism, ghosts and the uncanny was always a part of literary tradition but Walpole’s novel brought new popularity to the Gothic and made it a separate literary genre. As a genre, it includes horror, terror, supernaturalism, the mysterious and the uncanny, termed a male Gothic. With time female Gothic writers also contributed to its expansion and the genre got enhanced by the addition of women's expressions of fear as well as experiences of domesticities, anxieties about the self and critique of capitalism about gender, these were later collectively termed as female Gothic, Gothic as a genre refers to a representation of silent space, a space that remains with its strength and capacity to be heard through the unuttered means of parapraxes and ellipses in discourse. The paper discusses Gothic in respect of its nature of silences as a tool of resistance through the Galo Female Gothic narrative tradition, which brings forward a magnificent tale of Teri Ane, from the Galo narrative tradition, a tale that epitomizes silence as a tool of resistance.

Abstract The European Court of Human Rights attached a special stigma to torture in Ireland v United Kingdom, in its interpretation of the distinction between torture and other forms of ill-treatment. The concept is now central to the European Court’s description of torture under article 3 of the European Convention on Human Rights. It is, I argue, significant that the Court reached for this particular phrase. I consider the special stigma as a parapraxis facilitating a reading of the Court’s ‘unconscious text’. I connect the power to stigmatise with torture to explore the special stigma’s figurative, material and theological implications. Stigma, with its multi-layered meaning and its deep connections to torture, is useful in working out how Western powers generated their self-images as civilised whilst persisting with practices of torture. With the special stigma, the European Court rehabilitated the civilising standard and resurrected the historic association between torture and stigma.

Introduction“Cage rage” is one of the most famous Internet memes (Figure 1) which made Nicolas Cage's stylised and sometimes excessive acting style very popular. His outbursts became a subject of many Youtube videos, supercuts (see for instance Hanrahan) and analyses, which turned his rage into a pop-cultural phenomenon. Cage’s outbursts of rage and (over)acting are, according to him (Freeman), inspired by German expressionism as in films like The Cabinet of Dr. Caligari (1920). How should this style of acting and its position within the context of the Hollywood industry today be read in societal and political sense? Is “Cage rage” a symptom of our times? Rage might be a correct reaction to events such the financial crisis or the election of Donald Trump, but the question should also be posed, what comes after the rage, or as Slavoj Žižek often puts it, what comes the “morning after” (the revolution, the protests)?Fig. 1: One of the “Cage Rage” MemesDo we need “Cage rage” as a pop cultural reminder that, to paraphrase Gordon Gekko in Wall Street (1987), rage, for a lack of a better word, is good, or is it here to remind us, that it is a sort of an empty signifier that can only serve for catharsis on an individual level? Žižek, in a talk he gave in Vienna, speaks about rage in the context of revolutions:Rage, rebellion, new power, is a kind of a basic triad of every revolutionary process. First there is chaotic rage, people are not satisfied, they show it in a more or less violent way, without any clear goal and organisation. Then, when this rage gets articulated, organised, we get rebellion, with a minimal organisation and more or less clear awareness of who the enemy is. Finally, if rebellion succeeds, the new power confronts the immense task of organising the new society. The problem is that we almost never get this triad in its logical progression. Chaotic rage gets diluted or turns into rightist populism, rebellion succeeds but loses steam. (“Rage, Rebellion, New Power”)This means that, on the one hand, that rage could be effective. If we look at current events, we can witness the French president Emanuel Macron (if only partially) giving in to some of the demands of the gilets jaunes (yellow vests) protesters. In the recent past, the events of “Arab spring” are reminders of a watershed moment in the history of the participating nations; going back to the year 2000, Slobodan Milošević's regime in Serbia was toppled by the rage of the people who could not put up with his oligarchic rule — alongside international military intervention.On the other hand, all the outrage on the streets and in the media cannot simply “un-elect” or impeach Donald Trump from his position as the American President. It appears that President Trump seems to thrive on the liberal outrage against him, at the same time perpetuating outrage among his supporters against liberals and progressives in general. If we look back at the financial crisis of 2008 and the Occupy Wall Street movement, despite the outrage on the streets, the banks were bailed out and almost no one went to prison (Shephard). Finally, in post-Milošević Serbia, instead of true progressive changes taking place, the society continues to follow similar nationalistic patterns.It seems that many movements fail after expressing rage/aggression, a reaction against something or someone. Another recent example is Greece, where after the 2015 referendum, the left-wing coalition SYRIZA complied to the austerity measures of the Eurozone, thereby ignoring the will of the people, prompting its leaders Varoufakis and Tsipras falling out and the latter even being called a ‘traitor.’ Once more it turned out that, as Žižek states, “rage is not the beginning but also the outcome of failed emancipatory projects” ("Rage, Rebellion, New Power").Rage and IndividualismHollywood, as a part of the "cultural industry" (Adorno and Horkheimer), focuses almost exclusively on the individual’s rage, and even when it nears a critique of capitalism, the culprit always seems to be, like Gordon Gekko, an individual, a greedy or somehow depraved villain, and not the system. To illustrate this point, Žižek uses an example of The Fugitive (1993), where a doctor falsifies medical data for a big pharmaceutical company. Instead of making his character,a sincere and privately honest doctor who, because of the financial difficulties of the hospital in which he works, was lured into swallowing the bait of the pharmaceutical company, [the doctor is] transformed into a vicious, sneering, pathological character, as if psychological depravity […] somehow replaces and displaces the anonymous, utterly non-psychological drive of capital. (Violence 175)The violence that ensues–the hero confronting and beating up the bad guy–is according to Žižek mere passage a l’acte, an acting out, which at the same time, “serves as a lure, the very vehicle of ideological displacement” (Violence 175). The film, instead of pointing to the real culprit, in this case the capitalist pharmaceutical company diverts our gaze to the individual, psychotic villain.Other ‘progressive’ films that Hollywood has to offer chose individual rage, like in Tarantino's Kill Bill Volume I and II (2003/2004), with the story centred around a very personal revenge of a woman against her former husband. It is noted here that most of Nicholas Cage’s films, including his big budget movies and his many B-movies, remain outside the so-called ethos of “liberal Hollywood” (Powers, Rothman and Rothman). Conservative in nature, they support radical individualism, somewhat paradoxically combined with family values. This composite functions well values that go hand-in-hand with neoliberal capitalism. Surprisingly, this was pointed out by the guru of (neo)liberalism in global economy, by Milton Friedman: “as liberals, we take freedom of the individual, or perhaps the family, as our ultimate goal in judging social arrangements” (12). The explicit connections between capitalism, family and commercial film was noted earlier by Rudolf Arnheim (168). Family and traditional male/female roles therefore play an important role in Cage's films, by his daughter's murder in Tokarev (2014, alternative title: Rage); the rape of a young woman and Cage’s love interest in Vengeance: A Love Story (2017); the murder of his wife in Mandy (2018).The audience is supposed to identify with the plight of the father/husband plight, but in the case of Tokarev, it is precisely Cage's exaggerated acting that opens up a new possibility, inviting a different viewpoint on rage/revenge within the context of that film.Tokarev/RageAmong Cage's revenge films, Tokarev/Rage has a special storyline since it has a twist ending – it is not the Russian mafia, as he first suspected, but Cage’s own past that leads to the death of his daughter, as she and her friends find a gun (a Russian-made gun called ‘Tokarev’) in his house. He kept the gun as a trophy from his days as a criminal, and the girls start fooling around with it. The gun eventually goes off and his daughter gets shot in the head by her prospective boyfriend. After tracking down Russian mobsters and killing some of them, Cage’s character realises that his daughter’s death is in fact his own fault and it is his troubled past that came back to haunt him. Revenge therefore does not make any sense, rage turns into despair and his violence acts were literally meaningless – just acting out.Fig. 2: Acting Out – Cage in Tokarev/RageBut within the conservative framework of the film: the very excess of Cage’s acting, especially in the case of Tokarev/Rage, can be read as a critique of the way Hollywood treats these kinds of stories. Cage’s character development points out the absurdity of the exploitative way B-grade movies deal with such subjects, especially the way family is used in order to emotionally manipulate the audience. His explicit and deliberate overacting in certain scenes spits in the face of nuanced performances that are considered as “good acting.” Here, a more subdued performance that delivered a ‘genuine’ character portrayal in conflict, would bring an ideological view into play. “Cage Rage” seems to (perhaps without knowing it) unmask the film’s exploitation of violence. This author finds that Cage’s performance suffices to tear through the wall of the screen and he takes giant steps, crossing over boundaries by his embarrassing and awkward moments. Thus, his overacting and the way rage/revenge-storyline evolves, becomes as a sort of a “parapraxis”, the Freudian slip of the tongue, a term borrowed by Elsaesser and Wedel (131). In other words, parapraxis, as employed in film analysis means that a film can be ambiguous – or can be read ambiguously. Here, contradictory meanings can be localised within one particular film, but also open up a space for alternate interpretations of meanings and events in other movies of a similar genre.Hollywood’s celebration of rugged individualism is at its core ideology and usually overly obvious; but the impact this could on society and our understanding of rage and outrage is not to be underestimated. If Cage's “excess of acting” does function here as parapraxis this indicates firstly, the excessive individualism that these movies promote, but also the futility of rage.Rage and the Death DriveWhat are the origins of Nicholas Cage’s acting style? He has made claims to his connection to the silent film era, as expressive overstating, and melodrama was the norm without spoken dialogue to carry the story (see Gledhill). Cage also states that he wanted to be the “California Klaus Kinski” (“Nicolas Cage Breaks Down His Most Iconic Characters”). This author could imagine him in a role similar to Klaus Kinski’s in Werner Herzog's Nosferatu the Vampire (1979), a homage remake of the silent film masterpiece Nosferatu (1922). There remain outstanding differences between Cage and Kinski. It seems that Kinski was truly “crazy”, witnessed by his actions in the documentary My Best Fiend (1999), where he attacks his director and friend/fiend Werner Herzog with a machete. Kinski was constantly surrounded by the air of excessiveness, to this viewer, and his facial expressions appeared unbearably too expressive for the camera, whether in fiction or documentary films. Cage, despite also working with Herzog, does mostly act according to the traditional, method acting norms of the Hollywood cinema. Often he appears cool and subdued, perhaps merely present on screen and seemingly disinterested (as in the aforementioned Vengeance). His switching off between these two extremes can also be seen in Face/Off (1997), where he plays the drug crazed criminal Castor Troy, alongside the role of John Travolta’s ‘normal’ cop Sean Archer, his enemy. In Mandy, in the beginning of the film, before he goes on his revenge killing spree, he presents as a stoic and reserved character.So, phenomena like ‘Cage Rage’, connected to revenge and aggression and are displayed as violent acts, can serve as a stark reminder of the cataclysmic aspect of individual rage as integrated with the death drive – following Freud’s concept that aggression/death drive was significant for self-preservation (Nagera 48).As this author has observed, in fact Cage’s acting only occasionally has outbursts of stylised overacting, which is exactly what makes those outbursts so outstanding and excessive. Here, his acting is an excess itself, a sort of a “surplus” type of acting which recalls Žižek's interpretation of Freud's notion of the death drive:The Freudian death drive has nothing whatsoever to do with the craving for self-annihilation, for the return to the inorganic absence of any life-tension; it is, on the contrary, the very opposite of dying – a name for the “undead” eternal life itself, for the horrible fate of being caught in the endless repetitive cycle of wandering around in guilt and pain. (Parallax 62)Žižek continues to say that “humans are not simply alive, they are possessed by the strange drive to enjoy life in excess, passionately attached to a surplus which sticks out and derails the ordinary run of things” (Parallax 62). This is very similar to the mode of enjoyment detected in Cage’s over-acting.ViolenceRevenge and vigilantism are the staple themes of mass-audience Hollywood cinema and apart from Cage’s films previously mentioned. As Žižek reports, he views the violence depicted in films such as Death Wish (1974) to John Wick (2014) as “one of the key topics of American culture and ideology” (Parallax 343). But these outbursts of violence are simply, again, ‘acting out’ the passage a l’acte, which “enable us to discern the hidden obverse of the much-praised American individualism and self-reliance: the secret awareness that we are all helplessly thrown around by forces out of our control” (Parallax 343f.).Nicholas Cage’s performances express the epitome of being “thrown around by forces out of our control.” This author reads his expressionistic outbursts appear “possessed” by some strange, undead force. Rather than the radical individualism that is trumpeted in Hollywood films, this undead force takes over. The differences between his form of “Cage Rage” and others who are involved in revenge scenarios, are his iconic outbursts of rage/overacting. In his case, vengeance in his case is never a ‘dish best served cold,’ as the Klingon proverb expresses at the beginning of Kill Bill. But, paradoxically, this coldness might be exactly what one needs in the age of the resurgence of the right in politics which can be witnessed in America and Europe, and the outrage it continuously provokes. ConclusionRage has the potential to be positive; it can serve as a wake-up call to the injustices within society, and inspire reform as well as revolution. But rage is defined here as primarily an urge, a drive, something primordial, as an integral expression of the Lacanian Real (Žižek). This philosophic stance contends that in the process of symbolisation, or rage’s translation into language, this articulation tends to open up inconsistencies in a society, and causes the impetus to lose its power. As mentioned at the beginning of this article, the cycle of rage and the “morning after” which inevitably follows, seems to have a problematic sobering effect. (This effect is well known to anyone who was ever hungover and who therefore professed to ‘never drink again’ where feelings of guilt prevail, which erase the night before from existence.) The excess of rage before followed, this author contends, by the excess of rationality after the revolution are therefore at odds, indicating that a reconciliation between these two should happen, a negotiation, providing a passage from the primordial emotion of rage to the more rational awakening.‘Cage Rage’ and its many commentators and critics serve to remind us that reflection is required, and Žižek’s explication of filmic rage allows us to resist the temptation of enacting our rage that merely digresses to an ’acting out’ or a l'acte. In a way, Cage takes on our responsibility here, so we do not have to — not only because a catharsis is ‘achieved’ by watching his films, but as this argument suggests, we are shocked into reason by the very excessiveness of his acting out.Solutions may appear, this author notes, by divisive actors in society working towards generating a ‘sustained rage’ and to learn how to rationally protest. This call to protest need not happen only in an explosive, orgasmic way, but seek a sustainable method that does not exhaust itself after the ‘party’ is over. This reading of Nicholas Cage offers both models to learn from: if his rage could have positive effects, then Cage in his ‘stoic mode’, as in the first act of Mandy (Figure 3), should become a new meme which could provoke us to a potentially new revolutionary act–taking the time to think.Fig. 3: Mandy ReferencesAdorno, Theodor W., and Max Horkheimer. Dialektik der Aufklärung: Philosophische Fragmente. Frankfurt am Main: Fischer Verlag, 2006.Arnheim, Rudolf. Film als Kunst. Frankfurt am Main: Suhrkamp, 2002.Cage, Nicolas. “Nicolas Cage Breaks Down His Most Iconic Characters.” 18 Sep. 2018. 19 Dec. 2018 <https://www.youtube.com/watch?v=j_WDLsLnOSM>. Death Wish. Dir. Michael Winner. Paramount Pictures/Universal International. 1974.Elsaesser, Thomas, and Michael Wedel. Körper, Tod und Technik: Metamorphosen des Kriegsfilms. Paderborn: Konstanz University Press, 2016.Freeman, Hadley. “Nicolas Cage: ‘If I Don't Have a Job to Do, I Can Be Very Self-Destructive.” The Guardian 1 Oct. 2018. 22 Nov. 2018 <https://www.theguardian.com/film/2018/oct/01/nicolas-cage-if-i-dont-have-a-job-to-do-it-can-be-very-self-destructive>.Friedman, Milton. Capitalism and Freedom. Chicago: U of Chicago P, 1982.Gledhill, Christie. “Dialogue.” Cinema Journal 25.4 (1986): 44-8.Hanrahan, Harry. “Nicolas Cage Losing His Shit.” 1 Mar. 2011. 19 Dec. 2018 <https://www.youtube.com/watch?v=kOCF0BLf-BM>.John Wick. Dir. Chad Stahelski. Thunder Road Films. 2014.Kill Bill Vol I & II. Dir. Quentin Tarantino. Miramax. 2003/2004.Mandy. Dir. Panos Cosmatos. SpectreVision. 2018.My Best Fiend. Dir. Werner Herzog. Werner Herzog Filmproduktion. 1999.Nagera, Humberto, ed. Psychoanalytische Grundbegriffe: Eine Einführung in Sigmund Freuds Terminologie und Theoriebildung. Frankfurt am Main: Fischer, 1998.Powers, Stephen, David J. Rothman, and Stanley Rothman. Hollywood’s America: Social and Political Themes in Motion Pictures. Boulder: Westview Press, 1996.Shephard, Alex. “What Occupy Wall Street Got Wrong.” The New Republic 14 Sep. 2016. 26 Feb. 2019 <https://newrepublic.com/article/136315/occupy-wall-street-got-wrong>.Tokarev/Rage. Dir. Paco Cabezas. Patriot Pictures. 2014.Vengeance: A Love Story. Dir. Johnny Martin. Patriot Pictures. 2017.Wall Street. Dir. Oliver Stone. 20th Century Fox. 1987. Žižek, Slavoj. The Parallax View. Cambridge: MIT Press, 2009.———. “Rage, Rebellion, New Power.” Talk given at the Wiener Festwochen Theatre Festival, Mosse Lectures, 8 Nov. 2016. 19 Dec. 2018 <https://www.youtube.com/watch?v=LbmvCBFUsZ0&t=3482s>. ———. Violence: Six Sideways Reflections. London: Profile Books, 2009.

Rage can come from anywhere, it ignites as a flash of lightening and hisses rapidly down a darkened tunnel, landing wherever it finds a target. Sigmund Freud, and many other psychoanalysts, have attempted to explain the inception of human’s two primordial emotions, rage and fear – encapsulated in the popular phrase, fight or flight. Our earliest historical records detail the myriad battles that determined the world’s future course of events. Without rage, and its adjutants, violence and war, the world’s countries would not exist with their current boundaries. In fact, our species, Homo sapiens would necessarily have evolved through a different course. Since 2016, the public has been outraged by current events at an unprecedented level: the confluence of the election of US President Donald Trump, the struggles over the UK’s Brexit, and the revelations of systematic sexual abuse of women and African Americans, culminating in the recent #metoo and the #blacklivesmatter social media campaigns. More and more women have protested against sexual abuse, and recently the free-verse poem book Shout, from pop cultural icon Laurie Halse Anderson, “raise[s] urgent alarms, warning against the evils propagated by a culture that values dominance over respect” (Feldman 52). The rage revolution is here now. The nine articles included in this issue of M/C Journal on ‘rage’ unpack the concept of rage and its significant linkages to injustice, anger, personal and sexual abuse of women and minority cultures, violence and war. It is no surprise that many authors have chosen to focus on women’s rage and anger. Below, three articles develop the themes of political disenfranchisement for women and Indigenous cultures with a special emphasis on Australia, and the significant role that clothing plays in group-based activism.In the feature article, Angelika Heurich explores the fraught territory of women’s rights starting with the slogan: ‘the personal is the political’. In both the First and Second Waves of feminism, she reports, “concerns about issues of inequality, including sexuality, the right to abortion, availability of childcare, and sharing of household duties” became “personal problems” rather than a matter for national debate and policy changes (Hanisch qtd. in Heurich). Heurich cites the need for “feminist intervention in the state” (van Acker 120). These issues are very much alive today: how can enraged women change government policy in a meaningful way to address past and present injustices? Author Jo Coghlan further develops the theme of protestation with how clothing depicts the history of dissent. Coghlan’s argument suggests that the political efficacy of dress can perform “an ideological function that either bring[s] diverse members of society together for a cause ... or act[s] as a fence to keep identities separate” (Coghlan qtd Barnard). Clothing, as liberation, was celebrated in Mahatma Gandhi’s hand-spun cotton that symbolised the separation of India from Great Britain. Later, the Australian Aborigines’ Black Protest Committee adopted a set of particular colours for their movement towards equality, in this case, red, black and yellow worn first in 1982. To continue the theme, Lisa Hackett outlines the response of women’s rage’ to how their garments remain unsuitable from several standpoints. Hackett notes that the issues that surround fast fashion inspire women’s anger by its production: clothing that is cheaply made, in workplaces of virtual slavery, and made of unsustainable fabrics which lead to mountains of discarded garments in the world’s landfills. These problems inspire the rage of women who desire to protect the environment and also seek clothing that fits over forced obsolescence. Even as this issue on ‘rage’ widely presents people, activities and events that are driven by rage – across the broad spectrum of personal, artistic and cultural and socio-political storytelling, we also sought solutions in productive and/or philosophical frameworks that could explore how to ameliorate conditions under which rage arises. So the next two articles address the under-used (and under-implemented) word civility. In his article “Of ‘Rage of Party’ and the Coming of Civility”, Greg Melleuish presents the English Civil War as a case study. This conflict between the Royalists and Parliamentarians disrupted the authority of the crown, and resulted in a more moderated English government, in stark contrast to regime changes later on the European continent (e.g., the French Revolution). Melleuish offers that a “new ideal of ‘politeness and moderation’ had conquered English political culture” and promoted civility as a standard of behaviour for the government and worthy individuals. This concept of civility would later evolve to introduce philosophies of the Enlightenment. A collection of authors (Elizabeth Reid Boyd, Madalena Grobbelaar, Eyal Gringart, Alise Bender, and Rose Williams) have worked through the serious issues of ‘intimate civility’ – to encourage pathways to counteract ‘rage’ and its impact on the most vulnerable in society, especially women and children. The authors, in their coinage of the term, “envisage intimate civility – and our relationships – as dynamic, dialectical, discursive and interactive, above and beyond dualism.” They introduce a ‘decalogue’ of civility, relying on notions of politeness, respect, and emphasise dialogue between the affected parties and the Australian government’s campaigns and policies on domestic and sexual violence to reduce rage in the arena of interpersonal and intergenerational conflicts. The last articles in this M/C Journal issue on ‘rage’ address the media side of the equation. These authors all deal with aspects of rage as expressed on various screens, as films, television series or downloads to other devices. Richard Gehrmann, in his analysis of the Hollywood film American Sniper (2014), first provides a capsule timeline of conflicts in the Middle East, from the Second World War to the current day’s ongoing battles in Syria and elsewhere in the region. He highlights the propaganda-based, pro-American ‘jingoism’ presented in American Sniper, contrasting its portrayal of the returned veteran Chris Kyle with other true-life accounts of US Iraqi and Afghan soldiers. Gehrmann presents a bleak commentary on the ‘hot and cold rage’ required of the lone sniper, while many ‘hot’ unresolved issues, including the refugee crisis, remain in the Middle East situation. American Sniper’s celebration of the lone gunman contributes to the acceptance of violence in an America where mass shootings indicate an ever-growing expression of individual rage.”In his article on ‘Cage rage’, Sasa Miletic outlines Hollywood actor Nicholas Cage and his violent, sometimes over-acted outbursts on film as one of “the most famous Internet memes”. Miletic asks: has the overexpression of anger depicted in ‘Cage rage’ become “a pop cultural reminder “that rage, for a lack of a better word, is good ... or can [his filmic rage] only serve for catharsis on an individual level?” With this question, Miletic explores Nicholas Cage throughout his acting career, and presents his argument that the potential for ‘double-reading’ of his angry overacting in movies is a sort of ‘parapraxis’ – or “a Freudian slip of the tongue, a term borrowed by Elsaesser and Wedel (131). Miletic’s exploration of ‘Cage rage’ introduces new concepts of rage from the contemporary Slovenian philosopher Slavoj Žižek.The exploration of rage in film now turns to Jessica Gildersleeve’s article that locates ambiguous meanings of rage in recent television adaptations based in the Australian outback. Guildersleeve explores the two adaptations Wake in Fright (2017) and Mystery Road (2108) for how they depict rage: “in this context rage is turned to melancholy and thus to self-destruction, [serving] as an allegory for the state of the contemporary nation.” Gildersleeve notes that previous Australian authors have outlined the trope of ‘outback noir,’ and in her analysis of these two adaptations, she realigns the previous literary analysis of ‘noir’ to the emerging genre of Outback Gothic horror. The two shows depict the force of inward rage that turns to melancholy from different perspectives. While Wake in Fright (2107) seems to offer no hope for the future, Mystery Road harnesses the power of rage to locate a potential way to reconcile the two ‘classic’ opposing factions that inhabit the Outback: the colonisers and the indigenous Aborigines. Lastly, this collection on ‘rage’ comes full circle, back to the omnipresent ‘women’s rage’.From the viewpoint of Gothic literary traditions, and their challengers, author Katharine Hawkins develops the trope of Monstrous gothic through women’s roles depicted in Showtime’s television series, Penny Dreadful (2014-2016). Here, Hawkins echoes the themes from the introductory articles: as women must comply with men and their comforts, women’s rage turns both inward and outward. In Penny Dreadful, the actress Billie Piper constitutes a figure of the “Monstrous Gothic Feminine” arising from “the parlours of bored Victorian housewives into a contemporary feminist moment that is characterised by a split between respectable diplomacy and the visibility of female rage.” Piper’s Bride figure then mutates “from coerced docility [towards] abject, sexualised anger” which makes itself heard in the show’s second season (2016). Hawkins discussion introduces Ahmed’s figure of the “kill joy”, which becomes “a term to refer to feminists – particularly black feminists – whose actions or presence refuse this obligation, and in turn project their discomfort outwards, instead of inwards.” In summary, rage is with us, always. But there is hope that the outward expression of women’s rage, and of other disenfranchised populations as echoed in the #metoo and #blacklivesmatter movements will change the culture of global politics to value respect over violence. References Anderson, Laurie Halse. Shout. New York: Penguin Random House.Barnard, Malcolm. Fashion as Communication. New York: Routledge, 1996.Elsaesser, Thomas, and Michael Wedel, Körper Tod und Technik: Metamorphosen des Kriegsfilms. Paderborn: Konstanz University Press, 2016.Feldman, Lucy. “A Voice for Others Speaks for Herself.” TIME, 11 Mar. 2019: 52-53.Hanisch, Carol. “Introduction: The Personal Is Political.” 2006. 18 Sep. 2016 <http://www.carolhanisch.org/CHwritings/PIP.html>.Van Acker, Elizabeth. Different Voices: Gender and Politics in Australia. Melbourne: MacMillan Education Australia, 1999.Žižek, Slavoj. Violence: Six Sideways Reflections. London: Profile Books, 2009.

'Let me give you an analogy; analogies, it is true, decide nothing, but they can make one feel more at home.' -- Sigmund Freud, New Introductory Lectures 72 (1933) This paper emerged from a larger study of Freud's view of culture, which used elements of Freud's own way of proceeding to mount a critique of the elaboration of that view. It is proposed here that the use of analogy is foundational to Freud's procedure in building his model of the mind, rather than just a temporary means to an end, and, crucially, that Freud is himself unaware of both the necessity of the analogical move and also of his desire for it. The creation of the concept of the Freudian psyche is a rhetorical tour de force, a structure made of figures of speech, the chief among which is the analogy. Freud constructs an analogy between culture and mind: what is left of his theory of both if this rhetorical connexion is removed? In the opening pages of one of his last works Freud considers the problem of the interpretation of culture, and he concludes that there too it is a question of getting the patient on the couch: '... one is justified [he writes] in attempting to discover a psychoanalytic -- that is, a genetic explanation ...' -- in that psychoanalysis is a method of explaining the origins of present condition of such things as states of mind, to which culture more generally is analogous (Civilization 65). Understanding may be an end in itself, but there may be a more practical purpose in bringing psychoanalysis to bear: a culture may become sick, neurotic, and psychoanalysis may be able to play a part in understanding the nature of the problem, if not also in treating it. Civilization and Its Discontents concludes with the idea that 'we may expect that one day someone will venture to embark upon a pathology of cultural communities' (144). What Freud has to say about culture can be read, I propose, on a number of levels. The smallest elements which begin to reveal meaning -- which are capable of being differentiated in a meaningful way, and therefore analysed as texts -- are parapraxes and the minute revelations of the psychoanalytic techniques of free association and dream analysis. A second level of text is that produced by a unitary, identified 'author', such as Wilhelm Jensen's Gradiva, or Leonardo da Vinci's Virgin with St Anne. An epoch, such as Freud's Civilization (and its Discontents), and then his view of a species (as in Totem and Taboo), each with its own teleology, form texts of a higher order. My engagement with Freud here is with his method of argument by analogy. On some occasions he makes explicit the extent to which he is dependent on (flexible!) analogies of the description of his method -- as when he writes this in The Question of Lay Analysis: 'In psychology we can only describe things by the help of analogies. There is nothing peculiar in this, it is the case elsewhere as well. But we have constantly to keep changing these analogies, for none of them lasts us long enough. (195) In a key moment in The Psychopathology of Everyday Life, he again explicitly uses analogy instead of argument, writing: 'Instead of a discussion, however, I shall bring forward an analogy to deal with the objection' (21). This is a point at which he is dealing with the reason for the forgetting of names, and although he is not yet prepared to indicate what is in his view the precise reason for this (namely: repression), he wishes to persuade his reader to stay with him; and so he inserts a narrative about what we would now call a mugging, an event with just the right combination of violence and yet familiarity to allow readers to accept that such things happen but that the agents are usually unknown. That he is confident of the efficacy of this procedure is indicated by that fact that he uses the same analogy again in the Lecture 3 of the Introductory Lectures on Psychoanalysis (40-59). Although Freud uses analogy -- as a comparison between two separate and distinct and different things -- what he is most interested in is primary process. This is a mode of thinking which may be capable of an awareness of the differences between things, but is more interested in their confluences (overdetermination and condensation), and their similarities and ability to replace each other (displacement). I suggest that analogy is actually primary process subjected to 'secondary revision', and that Freud is himself unaware of the source of his recurrent need to use analogy. Consider also the 'Slovakia' example in Lecture 23 of the New Introductory Lectures on Psychoanalysis, in which Freud is extrapolating his division of the mind into the three parts: super-ego, ego and id, the 'three realms, regions, provinces, into which we divide an individual's mental apparatus...' He introduces this in a characteristically persuasive way: 'Let me give you an analogy; analogies, it is true, decide nothing, but they can make one feel more at home' (New Introductory Lectures 72). He then proceeds to a brief description of some of the characteristics of (what is now) Slovakia, in which German, Magyars and Slovaks live, in which there are three kinds of topography and also three groups of industry. He constructs the image partly to demonstrate the complexity of the interrelationships of the parts of the mental apparatus (and partly to have a shot at the powers that at Versailles divided up parts of Europe), and to show that the assignment of distinct names to them tends to obscure the way in which they in fact overlap and interact. However, what the analogy powerfully imports is the 'naturalness', indeed the inevitability, of the division into three. Despite the argument actually being that this division is in fact not clear-cut, it nevertheless implies the necessity of the division. So that his audience is all the more ready the accept the tripartite model of the mind. We could analyse this analogy between the two 'geographies' somewhat in the way that Freud would examine the account of a dream. Firstly, there are the day's residues: in this case his experiences in growing up in this part of Europe together with his reflections on the politics of defining a nation. Then we see the conflation of the two different realms of human experience, political geography and metapsychology; and the displacement of the one set of structures for the other. There is also the overdetermination of the tripartite structures: German, Magyars, Slovaks; hills, plains, lakes; cattle, cereals, fish; superego, ego, id. Finally an instance of secondary revision can be clearly seen in the conclusion of Freud's demonstration. If the partitioning could be neat and clear-cut like this, a Woodrow Wilson would be delighted by it; it would also be convenient for a lecture in a geography lesson. The probability is, however, that you will find less orderliness and more missing, if you travel through the region. ... A few things are naturally as you expected, for fish cannot be caught in the mountains and wine does not grow in the water. Indeed, the picture of the region that you brought with you may on the whole fit the facts; but you will have to put up with deviations in the details. (New Introductory Lectures 73) The implication for my analogy (with dream-analysis) is clearly that there will be a slippage between the different meanings of the images as the process of overdetermination tries to get each to do different work at the same time, and certain elements will have to be refined or retuned, whether in the service of more or less precise relation. A final point might be made, while still on the topic of Slovakia. Freud is, as we have seen, critical to some extent of the political-geographical situation that he receives and describes in his image. The reference to the American president suggests that there might have been a better way to carry out the partition, and certainly events in the region in our own very recent past suggest that this is so. Freud, however, is ultimately accepting of many of the aspects of the picture. He takes the different kinds of primary industry as givens: agriculture, viticulture, and the human culture implied in the national names. The fact that an outsider like Wilson might get it wrong only makes clearer the implication that received political geography is meaningful and in some senses right. This is an example of a cultural unconscious about which Freud does not speak because he cannot. It is not that his assumption about this matter, that which is taken-for-granted, is unthinkable: it is unsayable, something which is outside consciousness because it is so taken-for-granted. This kind of unconscious, which I am calling a kind of cultural unconscious for want of a better term -- and perhaps a notion of the 'non-conscious' might be more accurate -- simply cannot be accommodated by consciousness. Here Freud was appealing to geography to make his point. He far more often appeals to the authority of literature. To give a crude example, it is well known that it was the essay on nature -- thought at one time to be by Goethe -- which is supposed to have been the spur that pricked the side of Freud's intent and actually drove him into what was to become psychoanalysis. So literature not only has an inspirational effect for him, but is also evidence of the interpenetration of Freud's mind -- his way of thinking by analogy and citation -- and the culture of which he is the recipient, and in which he is caught up. If analogy is essential to Freud's theory, rather than just part of its explication (and space has permitted mention of only a few instances) -- if analogy functions as the clasps that hold together the new clothes of the Emperor of Psychoanalysis - what happens when the clasps are removed? References References to the works of Freud in English refer by volume to the Standard Edition (SE): Freud, Sigmund. The Standard Edition of the the Complete Psychological Works. 24 vols. London: The Hogarth Press and the Institute of Psychoanalysis, 1953-74. Freud, Sigmund. Civilization and its Discontents. SE 21. (1930.) 59-145. ---. "Delusions and Dreams in Jensen's 'Gradiva'." SE 9. (1907 [1906].) 1-95. ---. Introductory Lectures on Psychoanalysis. SE 15-6. (1916-17.) ---. "Leonardo da Vinci and a Memory of his Childhood." SE 11. (1910.) 59-137. ---. Postscript. SE 20. (1927.) 251-8. ---. New Introductory Lectures on Psychoanalysis. SE 22. (1933.) ---. The Origins of Psychoanalysis. Trans. Eric Mosbacher & James Strachey. Ed. Marie Bonaparte, Anna Freud and Ernst Kris. London: Imago; New York: Basic Books, 1950. (1887-1902.) Partly including "A Project for a Scientific Psychology" (1895), in SE 1. Freud, Sigmund. The Psychopathology of Everyday Life. SE 6. (1901.) ---. "The Question of Lay Analysis." SE 20. (1926.) 177-250. ---. Totem and Taboo. SE 13. (1912-13.) 1-161. Citation reference for this article MLA style: Garry Gillard. "Mind and Culture: Freud and Slovakia." M/C: A Journal of Media and Culture 3.2 (2000). [your date of access] <http://www.api-network.com/mc/0005/freud.php>. Chicago style: Garry Gillard, "Mind and Culture: Freud and Slovakia," M/C: A Journal of Media and Culture 3, no. 2 (2000), <http://www.api-network.com/mc/0005/freud.php> ([your date of access]). APA style: Garry Gillard. (2000) Mind and culture: Freud and Slovakia. M/C: A Journal of Media and Culture 3(2). <http://www.api-network.com/mc/0005/freud.php> ([your date of access]).