Home  About us  Contact
 

New Discourse (new + discourse)

Distribution by Scientific Domains
Humanities and Social Sciences44%

Selected Abstracts

The social construction of the participatory turn: The emergence of a norm in the European Union

EUROPEAN JOURNAL OF POLITICAL RESEARCH, Issue 4 2010
SABINE SAURUGGER
At the beginning of the 1990s a new discourse emerged at the European Union level, insisting on the necessity of ,civil society' participation in decision-making processes. Based on a ,strategic-constructivist' research design, this article addresses the question of the emergence of this participatory turn in the official discourse and its transformation into a norm. It argues that the continued activism of an elite forum, consisting of political and administrative actors as well as academics, created the momentum that brought the concerned actors to accept the participatory norm and to play the roles required by it. However, due to internal competition amongst norm entrepreneurs, and a changed political situation, this norm is still contested, making it difficult to assess how its implementation will function. [source]

Regional development policies and the constructions of gender equality: The Swedish case

EUROPEAN JOURNAL OF POLITICAL RESEARCH, Issue 1 2007
CHRISTINE HUDSON
Drawing on Carole Bacchi's ,What's the Problem? Approach', we explore how arguments concerning the new forms of regional policy are assigning different categories of people different subject positions and, in particular, we focus on the kind of subject positions that are being given to women as a group in this context. The discourse being shaped in national policy is, however, interpreted in specific contexts. Accordingly, we compare the way this new discourse is being (re)interpreted and (re)constructed and the subject positions being ascribed to women in the regional development partnerships and growth strategies in two Swedish regions: Västerbotten and Jönköping. Finally, we draw attention to how both the form and the content of Swedish regional development policies create great difficulties for politicizing gender as a power dimension in society. We suggest that regional politics has become de-politicized and argue for the need for it to be re-politicized with gender included as a conflict dimension. [source]

,Erkenntnistheoretische Maschinen': Questions about the Sublime in the Work of Raoul Schrott

GERMAN LIFE AND LETTERS, Issue 2 2002
Karen Leeder
This paper examines a new mode in recent German poetry. Far from the poetry influenced by the recent re-emergence of ,pop' culture, or the ,Alltagssprache' and ,simple Storys' of much recent writing from the former GDR, a number of poets have concerned themselves with modern science, particularly quantum mechanics and optics. These are among some of the most significant young poets of recent years (Thomas Kling, Franz Josef Czernin, Barbara Köhler, Durs Grünbein, Raoul Schrott etc.), figuring something which might be dubbed a contemporary of the ,poeta doctus'. This new discourse is interesting enough in itself, as poetry and science have, in the twentieth century at least, often been thought to be diametrically opposed. However, closer examination of this work, particularly that of Raoul Schrott (b. 1964), an ,emerging' and, paradoxically, already very distinguished writer, reveals that poetry and science can be understood as pro-foundly analogous; particularly in their use of metaphor. Fascinatingly, the contemporary discourse of science is set alongside classical (mythological) models in his work. They are both understood as finally hopeless projects to humanise the vast indifference of the universe: ,ein anderes sich in die leere/sagen'. The poem as ,epistemological machine' is set to interrogate the places where those human maps, models and vocabularies fail. The real territory of Schrott's work is thus revealed , in Hotels (1995), in essays, in four works of recent prose, and especially in Tropen (1998) , to be the boundaries of perception ,sub limes, where the models of human understanding fall away and point beyond themselves to an experience of the ,sublime'. [source]

Embodied female experience through the lens of imagination

THE JOURNAL OF ANALYTICAL PSYCHOLOGY, Issue 3 2010
Sharon R. Green
Abstract:, In 1971, I made a film entitled,Self Portrait of a Nude Model Turned Cinematographer,in which I explore the objectifying ,male' gaze on my body in contrast to the subjective lived experience of my body. The film was a radical challenge to the gaze that objectifies woman , and thus imprisons her , which had hitherto dominated narrative cinema. Since the objectification of women has largely excluded us from the privileged phallogocentric discourses, in this paper I hope to bring into the psychoanalytic dialogue a woman's lived experience. I will approach this by exploring how remembering this film has become a personally transformative experience as I look back on it through the lens of postmodern and feminist discourses that have emerged since it was made. In addition, I will explore how this process of imaginatively looking back on an artistic creation to generate new discourses in the present is similar to the transformative process of analysis. Lastly, I will present a clinical example, where my embodied countertransference response to a patient's subjection to the objectifying male gaze opens space for a new discourse about her body to emerge. Translations of Abstract En 1971, j'ai réalisé un film intitulé,Autoportrait d'un modèle nu transformé en cinéaste.,J'y explorais le contraste entre un regard « mâle » objectalisant sur mon corps nu et l'expérience subjective de mon corps vécu. Ce film était un défi radical lancé au regard objectalisant sur la femme, regard qui l'emprisonne et qui avait largement prédominé jusque-là dans la fiction cinématographique. Dans la mesure où l'objectalisation des femmes nous a largement exclues des discours phallogocentriques, j'espère dans cet article contribuer au dialogue psychanalytique, en y apportant l'expérience personnelle vécue d'une femme. J'y analyserai la manière dont la réminiscence de ce film est devenue pour moi une expérience de transformation, à mesure que je le reconsidérais à travers le prisme des discours postmodernes et féministes qui ont émergé depuis. Puis, je m'attacherai à examiner comment ce retour imaginatif sur une création artistique pour générer de nouveaux discours, présente des similitudes avec le processus de transformation analytique. Enfin, je présenterai un exemple clinique au cours duquel, une réponse contre-transférentielle incarnée de ma part à la sujétion d'une patiente au regard masculin objectalisant, ouvrit chez elle l'espace permettant l'émergence d'un discours nouveau à propos de son corps. 1971 machte ich einen Film mit dem Titel,Selbstporträit eines Nacktmodells, zur Kamerafrau,geworden in dem ich den objektifizierenden ,männlichen' Blick auf meinen Körper untersuche im Kontrast zu der subjektiv gelebten Erfahrung meines Körpers. Der Film stellte eine radikale Herausforderung dar für den Blick, der Frauen objektiviert , und sie dadurch gefangennimmt , welcher bis dahin das Erzählkino dominierte. Da uns die Objektifizierung von Frauen weitgehend von den phallozentrischen Diskursen ausgeschlossen hat hoffe ich, mit diesem Text die gelebte persönliche Erfahrung einer Frau in den psychoanalytischen Diskurs einzubringen. Ich werde mich dem annähern über die Untersuchung der Frage, wie die Erinnerungen an diesen Film zu einer persönlichen transformativen Erfahrung wurden. Dazu bediene ich mich einer Rückschau durch die Linse des postmodernen und feministischen Diskurses, wie er sich seit der Entstehung des Filmes herausgebildet hat. Desweiteren werde ich untersuchen, wie ähnlich dieser Prozeß der imaginativen Rückschau auf einen künstlerischen Schaffensvorgang zur Erzeugung neuer Diskurse in der Gegenwart den transformativen Prozessen in der Analyse ist. Schließlich werde ich ein klinisches Beispiel vorstellen, in dem meine körperliche Gegenübertragungsreaktion auf die Unterwerfung einer Patientin unter den objektifizierenden männlichen Blick einen Raum für eine neue Art von Diskurs über ihren Körper eröffnet. Nel 1971 girai un film intitolato "Autoritratto di una modella nuda trasformatasi in operatore cinematografico" in cui esploravo il contrasto tra lo sguardo "maschile" reificante sul mio corpo e l'esperienza soggettiva del mio corpo vivente. Il film era una sfida radicale allo sguardo che reifica la donna,e quindi la imprigiona,che aveva finora dominato la narrativa cinematografica. Poiché la reificazione delle donne ci aveva largamente escluse dai discorsi fallocentrici privilegiati, spero di portare nel dialogo psicoanalitico la personale esperienza vivente di una donna. Lo farò esaminando in che modo il ricordo di questo film sia divenuto un'esperienza personalmente trasformativa mentre lo riguardavo con le lenti dei discorsi femministi e postmoderni che sono emersi dopo che questo venne fatto. Inoltre analizzerò in che modo questo processo immaginale di ricordare una creazione artistica per generare nuovi discorsi nel presente sia simile al processo trasformativo dell'analisi. Infine presenterò un caso clinico in cui la mia risposta controtransferale alla soggezione di una paziente allo sguardo maschile deificante apre uno spazio in cui può emergere un nuovo discorso sul suo corpo. En 1971, hice una película,Auto Retrato de un Modelo Desnudo que se convirtió Cinematógrafo, donde exploro la objetivización de mirada ,masculina' sobre mi cuerpo en contraste a la experiencia subjetiva vivida de mi cuerpo. La película fue un desafío radical a la mirada que objetiva a mujer ,y así la encarcela , que había dominado hasta ahora al cine narrativo. Desde que la objetivación de mujeres se nos ha excluido en gran parte del privilegio del discursosde falocéntrico, espero con este trabajo traer la experiencia vivida ypersonal de la mujer al diálogo psicoanalítico. Me acercaré a ellos explorando cómo el recordar esta película ha llegado a ser una experiencia personal de transformación tal como yo lo recuerdo a la vista de los discursos postmodernos y feministas surgidos desde entonces. Además, exploraré cómo este proceso de recordar con imaginación una creación artística al engendrar nuevos discursos en el presente, es semejantes al proceso del transformador del análisis. Por último, presentaré un caso clínico, donde mi corporeizada respuesta contratransferencial del sometimiento de una paciente a la objetivización de la mirada masculina abre el espacio para que pueda surgir un nuevo discurso acerca de su cuerpo. [source]

Complete mutation analysis panel of the 39 human HOX genes

BIRTH DEFECTS RESEARCH, Issue 2 2002
Kenjiro Kosaki
Background The HOX gene family consists of highly conserved transcription factors that specify the identity of the body segments along the anteroposterior axis of the embryo. Because the phenotypes of mice with targeted disruptions of Hox genes resemble some patterns of human malformations, mutations in HOX genes have been expected to be associated with a significant number of human malformations. Thus far, however, mutations have been documented in only three of the 39 human HOX genes (HOXD13, HOXA13, and HOXA11) partly because current knowledge on the complete coding sequence and genome structure is limited to only 20 of the 39 human HOX genes. Methods Taking advantage of the human and mouse draft genome sequences, we attempted to characterize the remaining 19 human HOX genes by bioinformatic analysis including phylogenetic footprinting, the probabilistic prediction method, and comparison of genomic sequences with the complete set of the human anonymous cDNA sequences. Results We were able to determine the full coding sequences of 19 HOX genes and their genome structure and successfully designed a complete set of PCR primers to amplify the entire coding region of each of the 39 HOX genes from genomic DNA. Conclusions Our results indicate the usefulness of bioinformatic analysis of the draft genome sequences for clinically oriented research projects. It is hoped that the mutation panel provided here will serve as a launchpad for a new discourse on the genetic basis of human malformations. Teratology 65:50,62, 2002. © 2002 Wiley-Liss, Inc. [source]

The Rise of Criminal Background Screening in Rental Housing

LAW & SOCIAL INQUIRY, Issue 1 2008
David Thacher
This article investigates the recent rise of criminal background screening in rental housing as a case study of the diffusion of actuarial social control. That case study suggests that actuarial techniques have spread more widely through the crime prevention field than sociolegal scholars have recognized, replacing disciplinary efforts to diagnose and alter the behavior of individuals with actuarial efforts to identify and isolate high-risk groups. This actuarial strategy has proliferated not only because new discourses encouraged it but also because new institutional structures facilitated it. That conclusion illustrates the importance of structural (rather than cultural) factors in shaping society's response to crime,particularly the growing availability of the collective institutional capacity that actuarial social control requires. [source]

Old Jokes and New Multiculturalisms: Continuity and Change in Vernacular Discourse on the Yucatec Maya Language

AMERICAN ANTHROPOLOGIST, Issue 3 2009
Fernando Armstrong-Fumero
ABSTRACT, Much recent literature on indigenous identity politics in Latin America has emphasized the emergence of new discourses on ethnic citizenship. However, the ways in which state-sponsored efforts to validate and revitalize the Yucatec Maya language become relevant to rural Yucatecans reflect far more continuity with older local narratives about the relationship between language use and modernity. Situating contemporary engagements with multicultural language policies within a broader history of locally meaningful language practices complicates the general model of indigenous language communities that has informed many recent studies of Latin American identity politics and reframes scholarly debates that have emphasized contrasts between emergent forms of essentialism or purism and more-traditional means of identity formation. This, in turn, suggests new routes through which multicultural and multilingual policies can be conceptualized for heterogeneous communities of indigenous language speakers. [source]

Workplace learning as a cultural technology

NEW DIRECTIONS FOR ADULT & CONTINUING EDUCATION, Issue 92 2001
Nicky Solomon
This chapter explores some of the challenges and complexities presented by the new discourses on work and workplace learning, particularly those that serve as foreground to questions of culture. [source]

Embodied female experience through the lens of imagination

THE JOURNAL OF ANALYTICAL PSYCHOLOGY, Issue 3 2010
Sharon R. Green
Abstract:, In 1971, I made a film entitled,Self Portrait of a Nude Model Turned Cinematographer,in which I explore the objectifying ,male' gaze on my body in contrast to the subjective lived experience of my body. The film was a radical challenge to the gaze that objectifies woman , and thus imprisons her , which had hitherto dominated narrative cinema. Since the objectification of women has largely excluded us from the privileged phallogocentric discourses, in this paper I hope to bring into the psychoanalytic dialogue a woman's lived experience. I will approach this by exploring how remembering this film has become a personally transformative experience as I look back on it through the lens of postmodern and feminist discourses that have emerged since it was made. In addition, I will explore how this process of imaginatively looking back on an artistic creation to generate new discourses in the present is similar to the transformative process of analysis. Lastly, I will present a clinical example, where my embodied countertransference response to a patient's subjection to the objectifying male gaze opens space for a new discourse about her body to emerge. Translations of Abstract En 1971, j'ai réalisé un film intitulé,Autoportrait d'un modèle nu transformé en cinéaste.,J'y explorais le contraste entre un regard « mâle » objectalisant sur mon corps nu et l'expérience subjective de mon corps vécu. Ce film était un défi radical lancé au regard objectalisant sur la femme, regard qui l'emprisonne et qui avait largement prédominé jusque-là dans la fiction cinématographique. Dans la mesure où l'objectalisation des femmes nous a largement exclues des discours phallogocentriques, j'espère dans cet article contribuer au dialogue psychanalytique, en y apportant l'expérience personnelle vécue d'une femme. J'y analyserai la manière dont la réminiscence de ce film est devenue pour moi une expérience de transformation, à mesure que je le reconsidérais à travers le prisme des discours postmodernes et féministes qui ont émergé depuis. Puis, je m'attacherai à examiner comment ce retour imaginatif sur une création artistique pour générer de nouveaux discours, présente des similitudes avec le processus de transformation analytique. Enfin, je présenterai un exemple clinique au cours duquel, une réponse contre-transférentielle incarnée de ma part à la sujétion d'une patiente au regard masculin objectalisant, ouvrit chez elle l'espace permettant l'émergence d'un discours nouveau à propos de son corps. 1971 machte ich einen Film mit dem Titel,Selbstporträit eines Nacktmodells, zur Kamerafrau,geworden in dem ich den objektifizierenden ,männlichen' Blick auf meinen Körper untersuche im Kontrast zu der subjektiv gelebten Erfahrung meines Körpers. Der Film stellte eine radikale Herausforderung dar für den Blick, der Frauen objektiviert , und sie dadurch gefangennimmt , welcher bis dahin das Erzählkino dominierte. Da uns die Objektifizierung von Frauen weitgehend von den phallozentrischen Diskursen ausgeschlossen hat hoffe ich, mit diesem Text die gelebte persönliche Erfahrung einer Frau in den psychoanalytischen Diskurs einzubringen. Ich werde mich dem annähern über die Untersuchung der Frage, wie die Erinnerungen an diesen Film zu einer persönlichen transformativen Erfahrung wurden. Dazu bediene ich mich einer Rückschau durch die Linse des postmodernen und feministischen Diskurses, wie er sich seit der Entstehung des Filmes herausgebildet hat. Desweiteren werde ich untersuchen, wie ähnlich dieser Prozeß der imaginativen Rückschau auf einen künstlerischen Schaffensvorgang zur Erzeugung neuer Diskurse in der Gegenwart den transformativen Prozessen in der Analyse ist. Schließlich werde ich ein klinisches Beispiel vorstellen, in dem meine körperliche Gegenübertragungsreaktion auf die Unterwerfung einer Patientin unter den objektifizierenden männlichen Blick einen Raum für eine neue Art von Diskurs über ihren Körper eröffnet. Nel 1971 girai un film intitolato "Autoritratto di una modella nuda trasformatasi in operatore cinematografico" in cui esploravo il contrasto tra lo sguardo "maschile" reificante sul mio corpo e l'esperienza soggettiva del mio corpo vivente. Il film era una sfida radicale allo sguardo che reifica la donna,e quindi la imprigiona,che aveva finora dominato la narrativa cinematografica. Poiché la reificazione delle donne ci aveva largamente escluse dai discorsi fallocentrici privilegiati, spero di portare nel dialogo psicoanalitico la personale esperienza vivente di una donna. Lo farò esaminando in che modo il ricordo di questo film sia divenuto un'esperienza personalmente trasformativa mentre lo riguardavo con le lenti dei discorsi femministi e postmoderni che sono emersi dopo che questo venne fatto. Inoltre analizzerò in che modo questo processo immaginale di ricordare una creazione artistica per generare nuovi discorsi nel presente sia simile al processo trasformativo dell'analisi. Infine presenterò un caso clinico in cui la mia risposta controtransferale alla soggezione di una paziente allo sguardo maschile deificante apre uno spazio in cui può emergere un nuovo discorso sul suo corpo. En 1971, hice una película,Auto Retrato de un Modelo Desnudo que se convirtió Cinematógrafo, donde exploro la objetivización de mirada ,masculina' sobre mi cuerpo en contraste a la experiencia subjetiva vivida de mi cuerpo. La película fue un desafío radical a la mirada que objetiva a mujer ,y así la encarcela , que había dominado hasta ahora al cine narrativo. Desde que la objetivación de mujeres se nos ha excluido en gran parte del privilegio del discursosde falocéntrico, espero con este trabajo traer la experiencia vivida ypersonal de la mujer al diálogo psicoanalítico. Me acercaré a ellos explorando cómo el recordar esta película ha llegado a ser una experiencia personal de transformación tal como yo lo recuerdo a la vista de los discursos postmodernos y feministas surgidos desde entonces. Además, exploraré cómo este proceso de recordar con imaginación una creación artística al engendrar nuevos discursos en el presente, es semejantes al proceso del transformador del análisis. Por último, presentaré un caso clínico, donde mi corporeizada respuesta contratransferencial del sometimiento de una paciente a la objetivización de la mirada masculina abre el espacio para que pueda surgir un nuevo discurso acerca de su cuerpo. [source]