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The Insanity Defence: How Do We Handle Doubt?
Get PDFThis paper discusses how the legal definition of criminal insanity has been altered several times in the Norwegian criminal law, most recently in June 2019. There are difficulties in communicating between psychiatric experts, legal experts, and lay judges, since the description and understanding of psychotic cognition as well as the definition of legal terms are not equally understood.
Not all insanity cases are clear-cut. The Norwegian forensic experts must not conclude that the charged person is considered ‘psychotic’ in the legal sense if they are not clinically sure of this. The courts, on the other hand, must not conclude that a person is ‘sane’ if there is doubt about this. This paper discusses how there is little practical knowledge of how experts and courts handle such doubts, and highlights the lack of discussion of these questions in the legal sources
Dusjing i sjukeheim. Eit historisk og notidig perspektiv
Get PDFSamandragIntervju med bebuarar og helsefagarbeidarar i ein norsk sjukeheim viser at pleietrengjande kunne vere misnøgd med dusj kvar 14. dag. Bebuarane var fødde i perioden 1915 – 1935, og misnøyen med vaskepraksisane kan ha samband med at dusjpraksisane i sjukeheimen braut med dei kroppslege vaskevanane som bebuarane hadde vakse opp med. Analyser av historiske studiar om kroppsvask og analyser av lærebøker i sjukepleie viser at på den tida då bebuarane vaks opp var det mest ingen hus i Noreg som hadde bad, og dusj var uvanleg. Full kroppsvask blei vanlegvis gjennomført kvar laurdag. Då sat barna gjerne i ein stamp, medan vaksne sin vekelege fullstendige kroppsvask blei gjennomført ved hjelp av ein klut og vatn i eit vaskefat. Full kroppsvask ved hjelp av dusj kvar 14. dag var med andre ord eit brot med vaskevanane som bebuarane hadde vakse opp med. Nøkkelord : Dusj, sjukeheim, habitus, historisk, kroppsvask Abstract Interviews with residents and auxilliary nurses in a Norwegian nursing home show that the residents could be dissatisfied with showers every 14. day. The residents were born between 1915 – 1935, and the dissatisfaction can be due to the differences between the bodily washing practices they had grown up with and the practices in the contemporary nursing home. Analysis of historic studies and analysis of textbooks in nursing show that at the time when the residents grew up, nearly no houses in Norway had a bathroom and showers were unusual. Full bodywash was usually conducted at Saturdays. The children could be washed in a tub, while the adults used a washbasin and a cloth at their weekely, full bodywashes. Shower every 14. day was not in league with the residents bodily washing habits. Keywords: Shower, nursing home, habitus, historic, nursing, body was
Socialt rum og symbolsk magt
Get PDFJeg vil, inden for rammerne af en forelæsning, forsøge at præsentere de teoretiske principper, som ligger bag den undersøgelse, hvis resultater præsenteres i La Distinction (Bourdieu, 1979), og trække visse af de teoretiske implikationer frem, som med størst sandsynlighed vil forvirre læseren, især her i USA på grund af forskellene i vore kulturelle traditioner. Hvis jeg skulle karakterisere mit arbejde i få ord, dvs., som det så ofte gøres nu om dage, sætte en etiket på det, vil jeg tale om konstruktivistisk strukturalisme eller om strukturalistisk konstruktivisme, hvor ordet strukturalist skal tages i en ganske anden betydning end i Ferdinand de Saussures eller Claude Levi-Strauss\u27tradition. Med strukturalisme eller strukturalist mener jeg, at der i selve den sociale verden, og ikke kun i symbolske systemer, såsom sprog, myter etc., eksisterer objektive strukturer, som er uafhængige af agenternes bevidsthed og ønsker og er i stand til at lede eller tvinge deres praktikker eller deres repræsentationer. Med konstruktivisme mener jeg, at der finder en social genese sted: På den ene side af de opfattelses-, tænke- og handlemønstre, som konstituerer det jeg kalder habitus, og på den anden side af de sociale strukturer, og i særdeleshed af det, jeg kalder felter og grupper, og som almindeligvis kaldes sociale klasser
Pierre Bourdieu og den sociologiske tænkning om læreren (subjektivitet og socialitet)
Get PDFVort tema har titlen "lærerpersonligheden". For mig er det ikke så klart hvad der kan menes med det. Med ordet lærer plejer man jo i første omgang at antyde indehaveren af en erhvervsrolle og en funktionærstatus, samt en lønarbejderstatus inden for rammen af det formelle uddannelsessystem i offentlig regi, dvs. folkeskolelærer, gymnasielærer, universitetslærer. Men man forlader ikke hverdagssproget hvis man anvender ordet i en bredere mening om alle som formidler en viden eller en kunnen.
Sagen kompliceres desuden straks af at den vægt vi lægger på formidling af kundskaber og færdigheder, klart nok gerne associeres med ordet lærer, men selve den rolle som ordet betegner, er også associeret med opdragelse, dvs. med noget som er bredere.
Hvad kan man så mene med ordet personlighed? Det er straks sværere at svare på det. Hverdagssproget betegner med dette per definition noget i retning af det konkrete individ, opfattet som et samlet centrum for handling i videste mening, som udviser en vis kontinuitet i tid og rum. Videre kan man sige at ordet personlighed associeres med en specifik måde at være et sådant centrum på, måske tilmed en unik måde at være det. Dette har desuden en slags indre dimension som ikke er direkte tilgængelig ud over gennem personlighedens manifestationer: den jeg oplever at være indefra, jeg som oplever centrum ikke bare for handling, men som den plads hvor jeg oplever mig selv (subjektivitet). Og det har en social dimension som i sig selv er mangfoldig: både jeg og du, jeg og vi, interindividuel og supraindividuel (socialitet).Vort tema har titlen "lærerpersonligheden". For mig er det ikke så klart hvad der kan menes med det. Med ordet lærer plejer man jo i første omgang at antyde indehaveren af en erhvervsrolle og en funktionærstatus, samt en lønarbejderstatus inden for rammen af det formelle uddannelsessystem i offentlig regi, dvs. folkeskolelærer, gymnasielærer, universitetslærer. Men man forlader ikke hverdagssproget hvis man anvender ordet i en bredere mening om alle som formidler en viden eller en kunnen.
Sagen kompliceres desuden straks af at den vægt vi lægger på formidling af kundskaber og færdigheder, klart nok gerne associeres med ordet lærer, men selve den rolle som ordet betegner, er også associeret med opdragelse, dvs. med noget som er bredere.
Hvad kan man så mene med ordet personlighed? Det er straks sværere at svare på det. Hverdagssproget betegner med dette per definition noget i retning af det konkrete individ, opfattet som et samlet centrum for handling i videste mening, som udviser en vis kontinuitet i tid og rum. Videre kan man sige at ordet personlighed associeres med en specifik måde at være et sådant centrum på, måske tilmed en unik måde at være det. Dette har desuden en slags indre dimension som ikke er direkte tilgængelig ud over gennem personlighedens manifestationer: den jeg oplever at være indefra, jeg som oplever centrum ikke bare for handling, men som den plads hvor jeg oplever mig selv (subjektivitet). Og det har en social dimension som i sig selv er mangfoldig: både jeg og du, jeg og vi, interindividuel og supraindividuel (socialitet)
Kabaret, det revolusjonære og poetiske: Teateravantgarde i Norge 1920–1950
Get PDFIn Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres. A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure. A major director of the avant-garde was Stein Bugge, who also wrote comedies of the grotesque kind. The article also gives examples of the cabaret culture in the arctic, exemplified by popular revues with participation from traveling directors like the Jewish Salomon Schotland. One can basically speak of a revolutionary avant-garde also, using amateur theatre like in the work of Olav Dalgard. This avant-garde would by the 1950s be followed up by dramatic writers like Tarjei Vesaas and Georg Johannessen, preparing the way for new tendencies of cabaret and laboratory theatre, like ‘Odin Teatret’, founded in Oslo in 1964. The fact that ‘Odin Teatret’ after a couple of years left Norway for Denmark, represented a temporary halt for Norwegian avant-garde until a new social oriented and performative avant-garde came about in the 1970s.In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres. A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure. A major director of the avant-garde was Stein Bugge, who also wrote comedies of the grotesque kind. The article also gives examples of the cabaret culture in the arctic, exemplified by popular revues with participation from traveling directors like the Jewish Salomon Schotland. One can basically speak of a revolutionary avant-garde also, using amateur theatre like in the work of Olav Dalgard. This avant-garde would by the 1950s be followed up by dramatic writers like Tarjei Vesaas and Georg Johannessen, preparing the way for new tendencies of cabaret and laboratory theatre, like ‘Odin Teatret’, founded in Oslo in 1964. The fact that ‘Odin Teatret’ after a couple of years left Norway for Denmark, represented a temporary halt for Norwegian avant-garde until a new social oriented and performative avant-garde came about in the 1970s
La Guerra civil española como tema en la novela gráfica actual
No full textThe Spanish civil war and its postwar period remain two of the most important historical references of present-day Spain. Along with themes of strictly political nature addressing that period of time and with the negative aspects of the transition to democracy, themes of memory and postmemory (Hirsch 1992 / Liikanen 2015) appear. Both are closely related to – although not only to – the silencing of the victims of the mentioned historical periods. By this, I am referring to the ones defeated and to the next of kin of the disappeared.
Despite the famous affair of the so-called “gentleman’s agreement”, the “amnesia”, the “forgetfulness” or the “silence” of the democratic transition, a variety of narrative works have emerged in recent history; literary works that in various manners have the Civil War and Franco’s posterior dictatorship as topics or common threads in their narrations[1].
The consolidation of a new literary subgenre of hybrid characteristics combining the mode of narration found in novels and the specificities of the comic strip is a novelty in the context of Spanish literature. Although already canonized in the 1970’s in the United States (Eisner, 1978), the subgenre emerged in Spain during the end of the 1990’s. With the turn of the century, a new vision of the Spanish cartoon arrived: it was no longer fundamentally limited to the sphere of children, of satire, or of short comic strips in newspapers. With an expanded format, it began addressing the adult public.
In the selection of graphic novels that I am presenting, there are various narrative strategies and aesthetics elaborated from accounts from the Civil War, and its prolongation in the Second World War, by authors who were not protagonists in the real-life events themselves and whom I include within the wide concept of postmemory. The prevailing ideas in all the texts are as follows: the necessary recuperation of the memory of the Civil War, the presentation of the present as a result of the past and the importance of knowing the points of view of the defeated in order to update the cultural identities of the territorial sphere of the Spanish state
[1] I have already presented one such work during the «Romanist XV» « Escribir de Oídas: Final literature of the memory of the Spanish Civil War and its postwar period” (2012)
Le lien entre mémoire et histoire dans L ́Histoire terrible mais inachevée de Norodom Sihanouk, roi du Cambodge d ́Hélène Cixous
No full textThe play The Terrible but Unfinished Story of Norodom Sihanouk, King of Cambodia by Hélène Cixous, and directed by Ariane Mnouchkine at the Théâtre du Soleil in 1987, deals with the systemic failure of a political culture – transcending spatial and temporal parameters – and its genocidal consequences in national and international contexts, as well as individual and collective resistance. The article aims to study the political and geopolitical narrative as well as Cixous’ interpretation of history, with references to the civil war in Cambodia, the Cold War and the Vietnam War. Our approach to the play, which marks the beginning of the collaboration between the director Ariane Mnouchkine and Hélène Cixous, is that of an exploration and contextualization of its political and historical content to show how, in the words of Cixous, it « pollinates » its literary representation. We will analyze the interaction between discourses on traditionalism and modernization, imperialism and resistance, territoriality and exile. This also includes a study of the meaning of space as a « place of memory », since pay particular attention will be paid to the action of the play and the struggles of power, constantly changing places – whether these are interior or transnational – through Phnom Penh, Beijing, Washington, Paris and Moscow
Ekphrasis et figura dans le texte michonien
No full textPierre Michon’s postmodern writing oscillates between the sacred and the simulacrum, the sensible and the intelligible. It prompts the reader’s immersion into the text in order to make literature a force that acts. The present article examines this textual specificity in the light of ekphrasis and figura. It argues that Michon revives the rhetorical tradition (ekphrasis) and the Christian tradition (figura) to guide the posture of the reader and establish an aesthetics of performativity, mobilizing an old paradigm (enargeia) where vision is a highly valued sense. The article offers a succinct reading of Abbés (2002)
Queering the Curriculum: Why Music Therapy and Other Creative Arts Therapy Trainings Need Queer Theory
No full textMusic therapy academic faculty responsible for teaching the next generation of healthcare practitioners have a responsibility to ensure that the learning environment is one in which the principles of equity and inclusion are upheld and practiced. Without queer perspectives included in the curriculum, promotion and continuation of heteronormative and cisnormative attitudes and beliefs increase. As media, culture, and society reflect increasing awareness of and open-mindedness toward queerness, so does the opportunity for reflection and questioning regarding binary identities and exploration of the need to shift to fluid, spectrum identity categories. This questioning begins with perceiving that contemporary social identities are formed from a limited conception of a normative binary that recognizes only heteronormative and cisnormative sexual orientation and gender identities, which can be extended to other inadequate and unhelpful binaries, for example dis/abled and racial binaries that entrench prejudice. Reviewing current teaching environments and methods allows for consideration of how social constructions limit the capacity of educators to fully include attention to, and critique of, all thoughtless binaries – whether gay/straight, female/male, old/young etc. In this paper we reflect on and reveal predominant heteronormative and cisnormative values in music therapy education, advancing ways to make classroom and practicum settings a safe and exploring space, with the potential to positively impact all students and their current and future clients
From Researching the Queering Potential of Music Therapy to Queering Music Therapy: An Unexpected Journey
No full textIn my article, I intend to trace the route from which the development and realization of an arts-based research project has led me. In this still ongoing project, I am aiming to explore in what way improvisation in music therapy fosters the emergence of ways of feeling and expressing that are excluded from hegemonic discourse and thus enables personal growth and development also in ways marginalized through certain societal norms. I started off with a theoretical concept merging psychoanalysis, queer theory, and music therapy theory and wanted to explore the specific potentials of musical action, which this concept entails. I chose an arts-based research style for this examination, as I intended not only to formulate and discuss these potentials,but also to focus on how they are experienced by individuals. I felt that, if I am interested in direct experience, I had to involve research methods that induce this experience – merely talking or thinking about them would not bring me far in that respect.
As the project is still ongoing, I cannot provide a final presentation of results here. However, there is already one result which I want to make the main topic of this article. Unexpectedly, in the course of the project I not only dealt with queering in respect to contents, but queering was also a process in which I found myself. In this article, I will elaborate why and how this happened.
I will first outline the motivation and development of the research project. Next, I will focus on the theoretical framework: first from the work of Julia Kristeva (1984/1974) – particularly Kristeva’s conception of the subject as a sujet-en-procès (a subject-in-process) and the conception of different modes of meaning-making, and second from queer theory. Finally, I will elaborate on my personal experiences during the project which enabled me to critically examine music therapy in a way of ‘queering’ my understanding of music therapy.Dalla ricerca del potenziale queering* della musicoterapia alla musicoterapia queering*: un viaggio inaspettato
Nel mio articolo, intendo tracciare il percorso dal quale ho sviluppato e realizzato un progetto di ricerca basata sull\u27arte. In questo progetto tuttora in corso, sto cercando di esplorare in che modo l\u27improvvisazione in musicoterapia favorisce l\u27emergere di modi di sentire ed esprimere esclusi dal discorso egemonico, quindi consente la crescita e lo sviluppo personale anche attraverso modalità emarginate da certe norme sociali. Ho iniziato con un concetto teorico che fonde psicoanalisi, teoria queer* e teoria della musicoterapia, e volevo esplorare i potenziali specifici dell\u27azione musicale che tale concetto comporta. Ho scelto uno stile di ricerca basato sull\u27arte per questa esplorazione, poiché non solo intendevo formulare e discutere questi potenziali, ma anche concentrarmi su come sono vissuti dagli individui. Sentivo che, se fossi stata interessata all\u27esperienza diretta, avrei dovuto coinvolgere metodi di ricerca che inducessero tale esperienza - il solo parlare o pensare a loro non mi avrebbe portato lontano in questo senso.
Dato che il progetto è ancora in corso, non posso fornire una presentazione finale dei risultati in questa sede. Tuttavia, esiste già un risultato che desidero rendere come argomento principale di questo articolo. Inaspettatamente, nel corso del progetto mi sono occupata non solo di queering riguardo i contenuti, ma del queering come processo in cui ho trovato me stessa. In questo articolo spiegherò perché e come è accaduto. Descriverò innanzitutto la motivazione e lo sviluppo del progetto di ricerca. Successivamente, mi concentrerò sul quadro teorico: prima dal lavoro di Julia Kristeva (1984 [1974]) - in particolare la concezione di Kristeva sull\u27argomento come un “sujet-in-procès” (soggetto in elaborazione), e la concezione di diverse modalità di elaborazione del significato, e poi dalla teoria queer. Infine, approfondirò le mie esperienze personali durante il progetto che mi hanno permesso di esaminare criticamente la musicoterapia in modo da rendere queering la mia comprensione della musicoterapia stessa.
* Relativo all’eccentricità sociale rispetto alle definizioni di normalità codificate dalla cultura dominante, anche in riferimento all’orientamento sessuale e all’identità di genere.
Traduzione di Claudio Cominard